presentation about film history

The History of Film Timeline — All Eras of Film History Explained

M otion pictures have enticed and inspired artists, audiences, and critics for more than a century. Today, we’re going to explore the history of film by looking at the major movements that have defined cinema worldwide. We’re also going to explore the technical craft of filmmaking from the persistence of vision to colorization to synchronous sound. By the end, you’ll know all the broad strokes in the history of film.

Note: this article doesn’t cover every piece of film history. Some minor movements and technical breakthroughs have been left out – check out the StudioBinder blog for more content.

• Pre-Film: Photographic Techniques and Motion Picture Theory
• The Nascent Film Era (1870s-1910): The First Motion Pictures
• The First Film Movements: Dadaism, German Expressionism, and Soviet Montage Theory
• Manifest Destiny and the End of the Silent Era
• Hollywood Epics and the Pre-Code Era
• The Early Golden Age and the Introduction of Color
• Wartime Film and Cinematic Propaganda
• Post-War Film Movements: French New Wave, Italian Neorealism, Scandinavian Revival, and Bengali Cinema
• The Golden Age of Hollywood: The Studio System and Censorship
• New Hollywood: The Emergence of Global Blockbuster Cinema
• Dogme 95 and the Independent Movement
• New Methods of Cinematic Distribution and the Current State of Film

When Were Movies Invented?

Pre-film techniques and theory.

Movies refer to moving pictures and moving pictures can be traced all the way back to prehistoric times. Have you ever made a shadow puppet show? If you have, then you’ve made a moving picture.

To create a moving picture with your hands is one thing, to utilize a device is another. The camera obscura (believed to have been circulated in the fifth century BCE) is perhaps the oldest photographic device in existence. The camera obscura is a device that’s used to reproduce images by reflecting light through a small peephole.

Here’s a picture of one from Gemma Frisius’ 1545 book De Radio Astronomica et Geometrica :

When Did Movies Start?  •  Camera Obscura in ‘De Radio Astronomica et Geometrica’

Through the camera obscura, we can trace the principles of filmmaking back thousands of years. But despite the technical achievement of the camera obscura, it took many of those years to develop the technology needed to capture moving images then later display them. 

When Was Film Invented?

The first motion pictures.

When were movies invented ? The first motion pictures were incredibly simple – usually just a few frames of people or animals. Eadweard Muybridge’s The Horse in Motion is perhaps the most famous of these early motion pictures. In 1878, Muybridge set up a racing track with 24 cameras to photograph whether horses gallop with all four hooves off the ground at any time

The result was sensational. Muybridge’s pictures set the stage for all coming films; check out a short video on Muybridge and his work below.

When Did the First Movie Come Out?  •  Eadweard Muybridge’s ‘The Horse in Motion’ by San Francisco Museum of Modern Art

Muybridge’s job wasn’t done after taking the photographs though; he still had to produce a projection machine to display them. So, Muybridge built a device called the zoopraxiscope, which was regarded as a breakthrough device for motion picture projecting.

Muybridge’s films (and tech) inspired Thomas Edison to study motion picture theory and develop his own camera equipment.

Films as we know them today emerged globally around the turn of the century, circa 1900. Much of that development can be attributed to the works of the Lumière Brothers, who together pioneered the technical craft of moviemaking with their cinematograph projection machine. The Lumière Brothers’ 1895 shorts are regarded as the first commercial films of all-time; though not technically true (remember Muybridge’s work).

French actor and illusionist Georges Méliès attempted to buy a cinematograph from the Lumière Brothers in 1895, but was denied. So, Méliès ventured elsewhere; eventually finding a partner in Englishman Robert W. Paul.

Over the following years, Méliès learned just about everything there was to know about movies and projection machines. Here’s a video on Méliès’ master of film and the illusory arts from Crash Course Film History.

When Were Movies Invented?  •  Georges Méliès – Master of Illusion by Crash Course

Méliès’ shorts The One Man Band (1900) and A Trip to the Moon (1902) are considered two of the most trailblazing films in all of film history. Over the course of his career, Méliès produced over 500 films. His contemporary mastery of visual effects , multiple exposure , and cinematography made him one of the greatest filmmakers of all-time .

Movie History

The first film movements.

War and cinema go together like two peas in a pod. As we continue on through our analysis of the history of film, you’ll start to notice that just about every major movement sprouted in the wake of war. First, the movements that sprouted in response to World War I:

DADAISM AND SURREALISM

History of Motion Pictures  •  Still From ‘Un Chien Andalou’ by Luis Buñuel and Salvador Dalí

Major Dadaist filmmakers: Luis Buñuel, Salvador Dalí, Germaine Dulac.

Major Dadaist films: Return to Reason (1923), The Seashell and the Clergyman (1928), U n Chien  Andalou (1929).

Dadaism – an art movement that began in Zurich, Switzerland during World War I (1915) – rejected authority; effectively laying the groundwork for surrealist cinema . 

Dadaism may have begun in Zurich circa 1915, but it didn’t take off until years later in Paris, France. By 1920, the people of France had expressed a growing disillusionment with the country’s government and economy. Sound familiar?

That’s because they’re the same points of conflict that incited the French Revolution. But this time around, the French people revolted in a different way: with art. And not just any art: bonkers, crazy, absurd, anti-this, anti-that art. 

It’s important to note that Paris wasn’t the only place where dadaist art was being created. But it was the place where most of the dadaist, surrealist film was being created. We’ll get to dadaist film in a short bit, but first, let’s review a quick video on Dada art from Curious Muse.

Where Did Film Originate?  •  Dadaism in 8 Minutes by Curious Muse

Salvador Dalí, Germaine Dulac, and Luis Buñuel were some of the forefront faces of the surrealist film movement of the 1920s. French filmmakers, such as Jean Epstein and Jean Renoir experimented with surrealist films during this era as well.

Dalí and Buñuel’s 1929 film Un Chien Andalou is undoubtedly one of the most influential surrealist/dadaist films. Let’s check out a clip:

History of Movies  •  ‘Un Chien Andalou’ Clip

The influence of Un Chien Andalou on surrealist cinema can’t be quantified; key similarities can be seen between the film and the works of Walt Disney, David Lynch , Terry Gilliam , and other surrealist directors.

Learn more about surrealism in film →

GERMAN EXPRESSIONISM 

The Creation of Film and German Expressionism  •  Still From ‘The Cabinet of Dr. Caligari’ by Robert Wiene

• German Expressionism – an art movement defined by monumentalist structures and ideas – began before World War I but didn’t take off in popularity until after the war, much like the Dadaist movement.
• Major German Expressionist filmmakers: Fritz Lang, F.W. Murnau, Robert Wiene 
• Major German Expressionist films: The Cabinet of Dr. Caligari (1920), Nosferatu (1922), and Metropolis   (1927).

German Expressionism changed everything for the “look” and “feel” of cinema. When you think of German Expressionism, think contrast, gothic, dark, brooding imagery and colored filters. Here’s a quick video on the German Expressionist movement from Crash Course:

History of Film Timeline  •  German Expressionism Explained

The great works of the German Expressionist movement are some of the earliest movies I consider accessible to modern audiences. Perhaps no German Expressionist film proves this point better than Fritz Lang’s M ; which was the ultimate culmination of the movement’s stylistic tenets. Check out the trailer for M below.

Most Important Film in History of German Expressionism  •  ‘M’ (1931) Trailer, Restored by BFI

M not only epitomized the “monster” tone of the German Expressionist era, it set the stage for all future psychological thrillers. The film also pioneered sound engineering in film through the clever use of diegetic and non-diegetic sound . Fun fact: it was also one of the first movies to incorporate a leitmotif as part of its soundtrack.

Over time, the stylistic flourishes of the German Expressionist movement gave way to new voices – but its influence lived on in monster-horror and chiaroscuro lighting techniques. 

Learn more about German Expressionism →

SOVIET MONTAGE THEORY

Film History 101  •  The Odessa Steps in ‘Battleship Potemkin’

• Soviet Montage Theory – a Soviet Russian film movement that helped establish the principles of film editing – took place from the 1910s to the 1930s. 
• Major Soviet Montage Theory filmmakers: Lev Kuleshov, Sergei Eisenstein , Dziga Vertov.
• Major Soviet Montage Theory films: Kino-Eye (1924), Battleship Potemkin (1925), Man With a Movie Camera (1929).

Soviet Montage Theory was a deconstructionist film movement, so as to say it wasn’t as interested in making movies as it was taking movies apart… or seeing how they worked. That being said, Soviet Montage Theory did produce some classics.

Here’s a video on Soviet Montage Theory from Filmmaker IQ:

Eras of Movies  •  The History of Cutting in Soviet Montage Theory by Filmmaker IQ

The Bolshevik government set-up a film school called VGIK (the Gerasimov Institute of Cinematography) after the Russian Revolution. The practitioners of Soviet Montage Theory were the OG members of the “film school generation;” Kuleshov and Eisenstein were their teachers.

Battleship Potemkin was the most noteworthy film to come out of the Soviet Montage Theory movement. Check out an awesome analysis from One Hundred Years of Cinema below.

History of Film Summary  •  How Sergei Eisenstein Used Montage to Film the Unfilmable by One Hundred Years of Cinema

Soviet Montage Theory begged filmmakers to arrange, deconstruct, and rearrange film clips to better communicate emotional associations to audiences. The legacy of Soviet Montage Theory lives on in the form of the Kuleshov effect and contemporary montages .

Learn more about Soviet Montage Theory →

When Did Movies Become Popular?

The end of the silent era.

There was no Hollywood in the early years of American cinema – there was only Thomas Edison’s Motion Picture Patents Company in New Jersey.

Ever wonder why Europe seemed to dominate the early years of film? Well it was because Thomas Edison sued American filmmakers into oblivion. Edison owned a litany of U.S. patents on camera tech – and he wielded his stamps of ownership with righteous fury. The Edison Manufacturing Company did produce some noteworthy early films – such as 1903’s The Great Train Robbery – but their gaps were few and far between.

To escape Edison’s legal monopoly, filmmakers ventured west, all the way to Southern California. 

Fortunate for the nomads: the arid temperature and mountainous terrain of Southern California proved perfect for making movies. By the early 1910s, Hollywood emerged as the working capital of the United States’s movie industry.

Director/actors like Charlie Chaplin , Harold Lloyd and Buster Keaton became stars – but remember, movies were silent, and people knew there would be an acoustic revolution in cinema. Before we move on from the Silent Era, check out this great video from Crash Course.

When Did Movies Become Popular?  •  The Silent Era by Crash Course

The Silent Era holds an important place in film history – but it was mostly ushered out in 1927 with The Jazz Singer . Al Jolson singing in The Jazz Singer is considered the first time sound ever synchronized with a feature film . Over the next few years, Hollywood cinema exploded in popularity. This short period from 1927-1934 is known as pre-Code Hollywood.

When Did Hollywood Start?

Pre-code hollywood.

In our previous section, we touched on the rise of Hollywood, but not the Hollywood epic. The Hollywood epic, which we regard as longer in duration and wider in scope than the average movie, set the stage for blockbuster cinema. So, let’s quickly touch on the history of Hollywood epics before jumping into pre-code Hollywood.

It’s impossible to talk about Hollywood epics without bringing up D.W. Griffith. Griffith was an American film director who created a lot of what we consider “the structure” of feature films. His 1915 epic The Birth of a Nation brought the technique of cinematic storytelling into the future, while consequently keeping its subject matter in the objectionable past.

For more on Griffith’s The Birth of a Nation (and its complicated legacy), check out this poignant interview clip with Spike Lee . 

History of Filmmaking  •  Spike Lee on ‘The Birth of a Nation’

As Lee suggests, it’s important to acknowledge the technical achievement of films like The Birth of a Nation and Gone With the Wind without condoning their horrid subject matter. 

As another great director once said: “tomorrow’s democracy discriminates against discrimination. Its charter won’t include the freedom to end freedom.” – Orson Welles.

Griffith made more than a few Hollywood epics in his time, but none were more famous than The Birth of a Nation .

Okay, now that we reviewed the foundations of the Hollywood epic, let’s move on to pre-code Hollywood.

PRE-CODE HOLLYWOOD

A History of Film  •  James Cagney in ‘The Public Enemy’

• Pre-Code Hollywood – a period in Hollywood history after the advent of sound but before the institution of the Hays Code – circa ~1927-1934.
• Major Pre-Code stars: Ruth Chatterton, Warren William, James Cagney.
• Major Pre-Code films: Dr. Jekyll and Mr. Hyde (1931), The Public Enemy (1931), Baby Face (1933).

Pre-Code Hollywood was wild. Not just wild in an uninhibited sense, but in a thematic sense too. Films produced during the pre-Code era often focused on illicit subject matter, like bootlegging, prostitution, and murder – that wasn't the status quo for Hollywood – and it wouldn’t be again until 1968.

We’ll get to why that year is important for film history in a bit, but first let’s review pre-Code Hollywood with a couple of selected scenes from Kevin Wentink on YouTube.

Movie Film History  •  Pre-Code Classic Clips

Pre-Code movies were jubilant in their creativity; largely because they were uncensored . But alas, their period was short-lived. In 1934, MPPDA Chairman William Hays instituted the Motion Picture Production Code banning explicit depictions of sex, violence, and other “sinful” deeds in movies. 

Learn more about Pre-Code Hollywood →

Development of Movies

The early golden age and color in film.

The 1930s and early 1940s produced some of the greatest movies of all-time – but they also changed everything about the movie-making process. By the end of the Pre-Code era, the free independent spirit of filmmaking had all but evaporated; Hollywood studios had vertically integrated their business operations, which meant they conceptualized, produced, and distributed everything “in-house.”

That doesn’t mean movies made during these years were bad though. Quite the contrary – perhaps the two greatest American films ever made, Citizen Kane and Casablanca , were made between 1934 and 1944.

But despite their enormous influence, neither Citizen Kane nor Casablanca could hold a candle to the influence of another film from this decade: The Wizard of Oz .

The Wizard of Oz wasn’t the first film to use Technicolor , but it was credited with bringing color to the masses. For more on the industry-altering introduction of color, check out this video on The Wizard of Oz from Vox.

When Was Color Movies Invented?  •  How Technicolor Changed Movies

Technicolor was groundbreaking for cinema, but the dye-transfer process of its colorization was hard… and cost prohibitive for studios. So, camera manufacturers experimented with new processes to streamline color photography. Overtime, they were rewarded with new technologies and techniques.

Learn more about Technicolor →

Cinema Eras

Wartime and propaganda films.

In 1937, Benito Mussolini founded Cinecittà , a massive studio that operated under the slogan “Il cinema è l'arma più forte,” which translates to “the cinema is the strongest weapon.” During this time, countries all around the world used cinema as a weapon to influence the minds and hearts of their citizens.

This was especially true in the United States – prolific directors like Frank Capra, John Ford, John Huston, George Stevens, and William Wyler enlisted in the U.S. Armed Forces to make movies to support the U.S. war cause. 

Documentarian Laurent Bouzereau made a three-part series about the war films of Capra, Ford, Huston, Stevens, and Wyler. Check out the trailer for Five Came Back below.

A History of Film  •  Five Came Back Trailer

Wartime film is important to explore because it teaches us about how people interpret propaganda. For posterity’s sake, let’s define propaganda as biased information that’s used to promote political points.

Propaganda films are often regarded with a negative connotation because they sh0w a one-sided perspective. Films of this era – such as those commissioned for the US Department of War’s Why We Fight series – were one-sided because they were made to counter the enemy’s rhetoric. It’s important to note that “one-sided” doesn’t mean “wrong” – in the case of the Why We Fight series, I think most people would agree that the one-sidedness was appropriate. 

Over time, wartime film became more nuanced – a point proven by the 1966 masterwork The Battle of Algiers .

History of Movies

Post-war film movements.

Global cinema underwent a renaissance after World War II; technically, creatively, and conceptually. We’re going to cover a few of the most prominent post-war film movements, starting with Italian Neorealism.

ITALIAN NEOREALISM

Movie Film History  •  Still from Vittorio De Sica’s ‘Umberto D.’

• Italian Neorealism (1944-1960) – an Italian film movement that brought filmmaking to the streets; defined by depictions of the Italian state after World War II.
• Major Italian Neorealist film-makers: Vittorio De Sica, Roberto Rossellini, Michelangelo Antonioni, Luchino Visconti, Federico Fellini .
• Major Italian Neorealist films: Rome, Open City (1945), Bicycle Thieves (1948), La Strada (1954), Il Posto (1961).

Martin Scorcese called Italian Neorealism “the rehabilitation of an entire culture and people through cinema.” World War II devastated the Italian state: socially, economically, and culturally.

It took people’s lives and jobs, but perhaps more importantly, it took their humanity. After the War, the people needed an outlet of expression, and a place to reconstruct a new national identity. Here’s a quick video on Italian Neorealism.

Movie History  •  How Italian Neorealism Brought the Grit of the Streets to the Big Screen by No Film School

Italian Neorealism produced some of the greatest films ever made. There’s some debate as to when the movement started and ended – some say 1943-1954, others say 1945-1955 – but I say it started with Rome, Open City and ended with Il Posto . Why? Because those movies perfectly encompass the defining arc of Italian Neorealism, from street-life after World War II to the rise of bureaucracy. Rome, Open City shows Italy in the thick of chaos, and Il Posto shows Italy on the precipice of a new era.

The legacy of Italian Neorealism lives on in the independent filmmaking of directors like Richard Linklater, Steven Soderbergh, and Sean Baker.

Learn more about Italian Neorealism →

FRENCH NEW WAVE

Development of Movies  •  Still From Jean-Luc Godard’s Breathless

• French New Wave (1950s onwards) – or La Nouvelle Rogue, a French art movement popularized by critics, defined by experimental ideas – inspired by old-Hollywood and progressive editing techniques from Orson Welles and Alfred Hitchcock.
• Major French New Wave filmmakers: Jean-Luc Godard , François Truffaut , Agnes Varda.
• Major French New Wave films: The 400 Blows (1959), Breathless (1960), Cleo from 5 to 7 (1962).

The French New Wave proliferated the auteur theory , which suggests the director is the author of a movie; which makes sense considering a lot of the best French New Wave films featured minimalist narratives. Take Jean-Luc Godard’s Breathless for example: the story is secondary to audio and visuals. The French New Wave was about independent filmmaking – taking a camera into the streets and making a movie by any means necessary. 

Here’s a quick video on The French New Wave by The Cinema Cartography.

History of Filmmaking  •  Breaking the Rules With the French New Wave by The Cinema Cartography

It’s important to note that the pioneers of the French New Wave weren’t amateurs – most (but not all) were critics at Cahiers du cinéma , a respected French film magazine. Writers like Godard, Rivette, and Chabrol knew what they were doing long before they released their great works. 

Other directors, like Agnes Varda and Alain Resnais, were members of the Left Bank, a somewhat more traditionalist art group. Left Bank directors tended to put more emphasis on their narratives as opposed to their Cahiers du cinéma counterparts.

The French New popularized (but did not invent) innovative filmmaking techniques like jump cuts and tracking shots . The influence of the French New Wave can be seen in music videos, existentialist cinema, and French film noir .

Learn more about the French New Wave → 

Learn more about the Best French New Wave Films →

SCANDINAVIAN REVIVAL

A History of Film  •  Still from Ingmar Bergman’s ‘The Seventh Seal’

• Scandinavian Revival (1940s-1950s) – a filmmaking movement in Scandinavia, particularly Denmark and Sweden, defined by monochrome visuals, philosophical quandaries, and reinterpretations of religious ideals.
• Major Scandinavian Revival filmmakers: Carl Theodor Dreyer and Ingmar Bergman.
• Major Scandinavian Revival films: Day of Wrath (1943), The Seventh Seal (1957), Wild Strawberries (1957).

Swedish, Danish, and Finnish films have played an important role in cinema for more than 100 years. The Scandinavian Revival – or renaissance of Scandinavian-centric films from the 1940s-1950s – put the films of Sweden, Denmark, and Finland in front of the world stage.

Here’s a quick video on the works of the most famous Scandinavian director of all-time: Ingmar Bergman .

History of Cinema  •  Ingmar Bergman’s Cinema by The Criterion Collection

The influence of Scandinavian Revival can be seen in the works of Danish directors like Thomas Vinterberg and Lars von Trier , as well as countless other filmmakers around the world.

BENGALI CINEMA

History of Motion Pictures  •  Still from Satyajit Ray’s ‘Pather Panchali’

• Bengali Cinema – or the cinema of West Bengal; also known as Tollywood, helped develop arthouse films parallel to the mainstream Indian cinema.
• Major Bengali filmmakers: Satyajit Ray and Mrinal Sen.
• Major Bengali films: Pather Panchali (1955) and Bhuvan Shome (1969).

The Indian film industry is the biggest film industry in the world. Each year, India produces more than a thousand feature-films. When most people think of Indian cinema, they think of Bollywood “song and dance” masalas – but did you know the country underwent a New Wave (similar to France, Italy, and Scandinavia) after World War II? The influence of the Indian New Wave, or classic Bengali cinema, is hard to quantify; perhaps it’s better expressed by the efforts of the Academy Film Archive, Criterion Collection, and L'Immagine Ritrovata film restoration artists. Here's an introduction to one of India's greatest directors, Satyajit Ray.

Evolution of Cinema  •  How Satyajit Ray Directs a Movie

In 2020, Martin Scorsese said, “In the relatively short history of cinema, Satyajit Ray is one of the names that we all need to know, whose films we all need to see.” Ray is undoubtedly one of the preeminent masters of international cinema – and his name belongs in the conversation with Hitchcock, Renoir, Kurosawa, Welles, and all the other trailblazing filmmakers of the mid-20th century.

Learn more about Indian Cinema →

OTHER POST-WAR & NEW WAVE MOVEMENTS

How Has Film Changed Over Time?  •  Still from Akira Kurosawa’s ‘Stray Dog’

Italy, France, Denmark, Sweden, Finland, and India weren’t the only countries that underwent “New Waves” after World War II; Japan, Iran, Great Britain, and Russia had minor film revolutions as well.

In Japan, directors like Akira Kurosawa and Yasujirō Ozu introduced new filmmaking techniques to the masses; their 1940s-1950s films were great, but some filmmakers, like Hiroshi Teshigahara and Nagisa Ōshima felt they were better suited to make films about “modern” Japan. 

Here’s a quick video on the Japanese New Wave from Film Studies for YouTube.

Cinema Eras  •  Japanese New Wave Video Essay by Film Studies for YouTube

Some cinema historians combine the Japanese New Wave with the post-war era. For simplicity’s sake, we’ll do the same: the major films of this era (1940s-1960s) include Rashomon (1950), Tokyo Story (1953), and Seven Samurai (1954).

The Iranian New Wave began about fifteen years after the end of World War II, circa 1960-onwards. Iranian cinema is an important part of Iranian culture. Here’s a quick video on Iranian cinema from BBC News.

Important Dates in Film History  •  Spotlight on Iran’s Film Industry via BBC News

Cinema historians widely consider Dariush Mehrjui’s The Cow (1969) to be a foundational film for the movement. Abbas Kiarostami is perhaps the most famous Iranian filmmaker of all-time. His film Close-Up (1990) is regarded as one of the greatest films ever produced in Iran.

The British New Wave was a minor film movement that was defined by kitchen-sink realism – or depictions of ordinary life. Many filmmakers of the British New Wave were critics before they were directors; and they wanted to depict the average life of Britain through a filmic eye.

Here’s a lecture on the British New Wave from Professor Ian Christie at Gresham College. 

History of Filmmaking  •  Street-Life and New Wave British Cinema by Gresham College

The British New Wave became synonymous with Cinéma vérité (cinema of truth) over the course of its brief existence. Some of the major pictures of the movement include: Look Back in Anger (1959) and Saturday Night and Sunday Morning (1960).

Russian cinema is complex… probably just as complex as American cinema. We could spend 100 pages talking about Russian cinema – but that’s not the focus of this article. We already talked about Soviet Montage Theory, so let’s skip ahead to post World War II Soviet cinema. 

When I think of post-war Soviet cinema, I think of one name: Andrei Tarkovsky . Tarkovsky directed internationally-renowned films like Andrei Rublev (1969), Solaris (1972), and Stalker (1979) in his brief career as the Soviet Union’s pre-eminent maestro. 

Here’s a deep dive into the works of Tarkovsky by “Like Stories of Old.”

Film Industry Timeline  •  Praying Through Cinema – Understanding Andrei Tarkovsky by Like Stories of Old

Tarkovsky wasn’t the only great filmmaker in the post-war Soviet Union – but he was probably the best. I’d be remiss if I didn’t use this section to focus on him. 

History of Film Timeline

The golden age of hollywood.

The Hollywood Golden Age began with the fall of pre-Code Hollywood (1934) and lasted until the birth of New Hollywood (1968).

• Major stars of the Hollywood Golden Age: Humphrey Bogart, Cary Grant, Katharine Hepburn, Audrey Hepburn, Elizabeth Taylor, Clark Gable, Ingrid Bergman, Henry Fonda, Kirk Douglas, Gregory Peck, Lauren Bacall, Grace Kelly, James Dean, Marlon Brando.
• Major filmmakers of the Hollywood Golden Age: Cecil B. DeMille , Orson Welles , Billy Wilder , Frank Capra , John Huston , Alfred Hitchcock , John Ford , Elia Kazan , David Lean , Joseph Manckiewicz.

Notice how many names we included? It’s ridiculous – it would be wrong to omit any of them; and still, there are probably dozens of iconic figures missing. The Hollywood Golden Age was all about stars. Stars sold pictures and the studios knew it. “Hepburn” could sell a movie every time; it didn’t matter which Hepburn – or what the movie was about.

Here’s a breakdown of the Hollywood Golden Age from Crash Course.

History of Movies  •  The Golden Age of Hollywood by Crash Course

There are a few sub-eras within the Hollywood Golden Age era; let’s break them down in detail.

Important Dates in Film History  •  Photo of MPPDA Chairman William Hays

In 1934, Chairman William Hays of the Motion Picture Producers and Distributors of America instituted a production code that banned graphic cinematic depictions of sex, violence, and other illicit deeds. 

The “Production Code” or “ Hays Code ” was responsible for the censorship of Hollywood films for 34 years. 

For more on the history of Hollywood censorship and movie ratings, check out the video from Filmmaker IQ below.

How Has Film Changed Over Time?  •  History of Hollywood Censorship by Filmmaker IQ

The Hays Code kept cinema tame, which led to Hollywood romanticism. But it also made cinema unrealistic, which made the American public yearn for improbable outcomes. Not to mention that it set race relations back an indeterminable amount of years. The Hays Code specifically forbade miscegenation, or “the breeding of people of different races.” 

Ultimately, the censorship of Hollywood films was about keeping power in the hands of people with power. It had some positive unintended outcomes – but it wasn’t worth the cost of suppression.

Learn more about the Hays Code →

Learn more about the history of movie censorship →

Film Industry Timeline  •  Still from Nicholas Ray’s ‘In a Lonely Place’

Film noir is a style of film that’s defined by moralistic themes, high contrast lighting, and mysterious plots. Oftentimes, film noirs feature hardboiled protagonists . It’s important to note that film noir is a style, not a film movement. As such, we won’t list “film noir directors,” but we will list some iconic examples of film noir.

Major Hollywood film noirs: The Maltese Falcon (1941), Double Indemnity (1944), Sunset Boulevard (1950).

Hollywood film noirs were inspired by classic detective fiction stories, like those of Arthur Conan Doyle and Edgar Allan Poe. Over time, film noir was adopted as a style around the world – most famously in Great Britain with Carol Reed’s The Third Man .

Here’s a video on defining film noir from Jack’s Movie Reviews.

Eras of Movies  •  Defining Film Noir by Jack’s Movie Reviews

We could spend another 50 pages on film noir (like many other topics in this compendium) – but instead, let’s continue on.

Learn more about film noir →

How Movies Have Changed Over Time  •  Still from John Ford’s ‘The Searchers’

Hollywood westerns were incredibly popular during the Golden Age. Why? Because the American people loved stories of lawlessness and expansion, dating all the way back to Erastus Beadle’s dime novels – making the western the perfect subgenre for vicarious cinema.

Major Hollywood westerns: Stagecoach (1939), High Noon (1952), The Searchers (1956). 

Westerns, much like film noirs, allowed repressed audiences to feel alive at the movie theater. Remember: Hollywood films were censored during the Golden Age, which meant you couldn’t find graphic violence or pornography at the theaters. So, audiences took what they could get – which was usually film noirs and Westerns.

Here’s a video on the history of Westerns in Hollywood cinema. 

Evolution of Film  •  Western Movies History by Ministry of Cinema

Hollywood westerns inspired a global fascination with cowboys, mercenaries, and gunslingers, directly leading to samurai cinema, spaghetti westerns, zapata westerns, and neo-westerns.

Learn more about Spaghetti Westerns →

Learn more about Neo-Westerns →

McCARTHYISM & THE BLACKLIST

How Movies Have Changed Over Time  •  Bryan Cranston as Blacklisted Screenwriter Dalton Trumbo

In 1947, the state of Wisconsin elected notorious fear-monger Joseph McCarthy as senator of their state. McCarthy hated free-speech – that’s not a one-sided perspective, that’s the truth. McCarthy spent his entire career demagoguing, and his legacy shows that. 

In 1950, ten Hollywood screenwriters were summoned to appear before the United States Congress House of Un-American Activities, largely because of McCarthy's divisive rhetoric against communist sympathizers. The screenwriters were cited for contempt of congress and fired from their jobs, and thus, the blacklist was born.

For more on McCarthyism and the Hollywood blacklist , check out the video from Ted-Ed below.

The History of Film  •  McCarthyism and the Blacklist by Ted-Ed

The Hollywood blacklist derailed the careers of hundreds of writers, directors, and producers from 1950-1960. The blacklist ended when Kirk Douglas credited Dalton Trumbo – one of the most famous blacklisted screenwriters – as the screenwriter of Stanley Kubrick’s Spartacus , effectively taking back control of Hollywood.

Learn more about the Hollywood Blacklist →

THE PARAMOUNT CASE

The History of Film  •  Paramount Studios Classic Style Logo

In 1948, the Supreme Court of the United States ruled that the five major motion picture studios: Paramount, Metro-Goldwyn-Mayer (MGM), Warner Bros., 20th Century Fox, and RKO violated the U.S. Sherman Antitrust Act of 1890.

As a result of the decision, movie studios could no longer solely create and distribute movies to their own theaters.

It may not sound important, but the Paramount Case changed everything for American cinema. Here’s a quick video on the Case and its lasting impact on Hollywood.

The History of Filmmaking  •  Film History 101: The Paramount Decree by Omar Rivera

The Paramount Case opened the door for international films and independent theaters. It also gave businesses more freedom to show movies outside of the MPPDA ratings system.

Evolution of Cinema

New hollywood.

Movie History  •  Still from Arthur Penn’s’ Bonnie and Clyde’

• New Hollywood, otherwise known as the Hollywood New Wave, introduced “the film school generation” to Hollywood. New Hollywood films are defined as larger in scope, darker in subject matter, and overtly more graphic than their Golden Age predecessors.
• Major New Hollywood filmmakers: George Lucas , Steven Spielberg , Martin Scorsese , Brian De Palma , Peter Bogdanovich, Woody Allen , Francis Ford Coppola , James Cameron .
• Major New Hollywood films: Bonnie and Clyde (1967), The Graduate (1967), Easy Rider (1969), Midnight Cowboy (1969), The Godfather (1972), American Graffiti (1973).

New Hollywood ushered American filmmaking into a new era by returning to the popular genres of the pre-Code era, such as gangster films and sex-centric films. It also marked the emergence of “film-school” directors like George Lucas, Steven Spielberg, and Martin Scorsese. It’s clear from watching New Hollywood films that the writers and directors who produced them were acutely aware of cinema history. 

During this era, writers like Woody Allen employed themes of existentialist cinema found in the French New Wave and Italian Neorealism (among other movements). Directors like Martin Scorsese utilized advanced framing techniques pioneered by masters of the pre-war era.

For more on New Hollywood, check out this feature documentary based Peter Biskind's seminal book "Easy Riders, Raging Bulls."

Movie History  •  How New Hollywood Was Born

New Hollywood (and its immediate aftermath) produced some of the greatest films of all-time: such as The Godfather (1972), The Godfather Part II (1974), Chinatown   (1974), Taxi Driver (1976), Network (1976), and Annie Hall (1977).

Somewhat tragically, New Hollywood ended with the emergence of blockbuster films – such as Jaws (1975) and Star Wars (1977) – in the mid to late 1970s.

Learn more about New Hollywood →

Eras of Movies

Dogme 95 and independent movements.

Big-budget movies dominated the movie-scene after New Hollywood ended. Suddenly, cinema became more of a spectacle than an art-form. That’s not to say movies produced during this era (1975-1995) were bad – some big-budget films, like Back to the Future (1985) and   Jurassic Park (1993) were financially successful and critically acclaimed; and writer/directors like John Hughes found enormous success making studio films about seemingly mundane life. 

But despite the financial prospect of making contrived studio films, some filmmakers decided to go back to their roots and make films independently, much in the vein of the artists of the French New Wave. This spirit inspired the Danish Dogme 95 movement and the American Independent movement.

Evolution of Film  •  Photo Still from ‘Festen’ by Thomas Vinterberg

D0gme 95 – a Danish film movement that brought filmmaking back to its primal roots: no non-diegetic sound, no superficial action, and no director credit. 

Major Dogme 95 filmmakers: Thomas Vinterberg and Lars von Trier

Major Dogme 95 films: Dogme #1 – Festen (1998), Dogme #2 – The Idiots (1998), Dogme #12 – Italian for Beginners (2000).

It’s ironic that Dogme 95 , which states the director must not be credited, is perhaps best known for the fame of two of its founders: Thomas Vinterberg and Lars von Trier. Dogme 95 sought to rid cinema of extravagant special effects and challenging productions by making the filmmaking process as simple as possible. To do this, its founders created the Vows of Chastity: a ten-part manifesto for Dogme 95 filmmaking.

Check out a video on the Vows of Chastity and Dogme 95 below.

History of Cinema  •  Vows of Chastity – Films of Dogme 95 by FilmStruck

Ultimately, the Vows of Chastity proved too limiting for filmmakers – but their influence lives on in New Danish cinema and independent films all over the world.

Learn more about Dogme 95 →

History of Cinema  •  Still from Kevin Smith’s ‘Clerks’

Indie film – or late 80s, early 90s cinema produced outside of the major motion picture system – was about experimenting with new cinematic forms, pushing the Generation Next agenda, and making art by any means necessary. 

Major indie filmmakers: Richard Linklater , Wes Anderson , Steven Soderbergh , Jim Jarmusch . 

Major indie films: Sex, Lies, and Videotape (1989), Slacker (1990), and Bottle Rocket (1994).

The American indie movement launched the careers of a myriad of great directors. It also marked the beginning of a major decline for film. The advent of digital cameras and DVDs meant film was becoming a luxury. Conversely, it meant procuring the necessary equipment needed to make movies was easier than ever.

Indie-films introduced the idea that anybody could make movies. For better or worse, the point proved to be true. The '90s and early 2000s were littered with independently produced, scarcely funded movies. It was unrestrained, but it was also liberating.

Check out this video on no-budget filmmaking from The Royal Ocean Film Society to learn more about the indie movement.

Evolution of Cinema  •  Lessons for the No-Budget Feature by The Royal Ocean Film Society

The indie movement (as it was known then) ended when the major studios (like Disney and Turner) bought the independent studios (like Miramax and New Line). Today, we often refer to minimalist, low-budget movies as independent, but the truth is just about every production studio is owned by a conglomerate.

How Has the Film Industry Changed?

New distribution methods.

The current state of cinema is in flux due to a wide array of issues, including (but not limited to) the economic impact of the Covid-19 pandemic, the wide-adoption of new streaming services from first-party producers, i.e. Netflix, Disney, Paramount, etc., and the growth of new media forms.

Over the last few years, big-budget epics like Marvel’s The Avengers and Star Wars have performed well at the U.S. and Chinese box-office, but their success has often come at the expense of medium-budget movies; the result being a deeper lining of the pockets of exorbitantly wealthy corporations.

Still, there’s a lot of money to be made – a point perhaps best proven by the rise of the Chinese film industry. In 2020, China overtook North America as the world’s biggest box-office market, per THR. Check out a video on Hengdian, China’s largest film studio from South China Morning Report.

Movie History  •  Inside China’s Largest Film Studio by South China Morning Report

Movies seem to get bigger and bigger every year but the development of computer-generated-imagery and compositing techniques has given filmmakers the technology to create vast worlds in limited spaces.

So: what’s next for film? Who’s to say for certain? The future of the industry looks cloudy – but there’s definite promise on the horizon. More people have cinema-capable cameras in their pocket today than ever before. Perhaps the next great movement will take off soon.

Related Posts

• What is CinemaScope  →
• When Was the Camera Invented →
• What Was the First Movie Ever Made  →

100 Years of Cinematography

The history of film includes a lot more than what we went over here. In 2019, the American Society of Cinematographers celebrated 100 years of great cinematography with a list of legendary works. In our next article, we break down some of the ASC’s choices with video examples. Follow along as we look at the work of Conrad Hall, Vittorio Storaro, and more.

Up Next: Best Cinematography of All-Time →

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The History of Filmmaking

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Presentation on theme: "The History of Filmmaking"— Presentation transcript:

Film History part II The birth of HOLLYWOOD. By 1918 World War I had ended, and American movies became dominant works around the globe. World War I had.

Film History Part II 1/2 A continuation ….

Motion Pictures. A Technology Based on Illusion The Edison Lab motion picture camera Lumiere Brothers in France –Cinematographe projection device.

The Studio System Hollywood’s Standardized Entertainment.

The Hollywood Studio System, Swedish Cinema & German Cinema Jaakko Seppälä

WORLD CINEMA EMPIRE. The world capital of film entertainment Los Angeles has been a lot of things over the past 100 years.First it was a little city with.

Introduction to Film Silent Movies Birth of Cinematography Robert W. Paul invented the film projector First public showing in 1895 Movies were shown.

Creating a masterpiece.  1895 – Kinetoscope developed by Edison  Free oneself from time and space ◦ Forms of Technology  Telegraph  Photography 

HISTORY OF FILM IN AMERICA PART I. EADWEARD MUYBRIDGE 1878 Beginning of the history of Film Stop Motion Photography Horse series.

The History of Film. Thomas Edison Kinetoscope debuted in 1893 at the Chicago world’s fair 1894, Fred Ott’s Sneeze is the 1 st copyrighted film Robert.

Hollywood’s Golden Age Key Features From silent to sound production Consolidation of the studio system Establishing an official regulatory.

The History of Films.

Copyright © 2012, by Jay Seller, Ph.D.. In 1894 Thomas Edison and William Dickson invented the Kinetoscope and Vitascope 1895 Birth of Cinematography.

The story of Hollywood.

Standard motion picture projectors present images at frames per-second. Standard motion picture projectors present images at frames per-second.

Early Storytelling…. Everyone has a story to tell Oral tradition Greek mythology / Odyssey Written documents Egyptian hieroglyphics / papyrus Photography.

Early Storytelling…. Everyone Has a Story to Tell.

An intro to film history The Lumiere Brothers, George Melies, and Sergei Eisenstein.

1877: Eadweard Muybridge develops sequential photographs of horses in motion. Muybridge subsequently invents the zoöpraxiscope in 1879, a device for projecting.

After the technology develops… The fun begins…. The Silent Era ( ’s) The Studio Era ( ) American Film and Life Era ( ) Auteur.

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© 2024 SlidePlayer.com Inc. All rights reserved.

History Of Film Timeline — A Visual Guide to the History of Film: From Silent Classics to Modern Masterpieces

• German Expressionism
• Surrealist Cinema
• Soviet Montage
• Poetic Realism
• French Impressionist

Pre-Code Hollywood

• Documentary Film Movement
• Italian Futurism
• Kammerspielfilm
• The Brighton School
• Women In Italian Neorealism
• Italian Neorealism
• The Polish School
• Free Cinema
• Direct Cinema
• Parallel Cinema
• British New Wave
• French New Wave
• Cinéma Vérité
• Third Cinema
• New German Cinema

New Hollywood

• Japanese New Wave
• Cinema Novo
• Czech New Wave
• Movie Brats
• LA Rebellion
• Australian New Wave
• Yugoslav Black Wave
• Grupo Cine Liberación
• Cinema Da Boca Do Lixo
• Cinema Of Moral Anxiety
• Soviet Parallel Cinema
• The Budapest School
• Cinéma Du Look
• New Queer Cinema
• Iranian New Wave
• Hong Kong New Wave
• Taiwanese New Wave
• Toronto New Wave
• Cinema Of Transgression
• New Mexican Cinema
• New French Extremity
• Romanian New Wave
• Hyperlink Cinema
• New Nigerian Cinema
• Pan-Indian Film
• Participatory Cinema
• The Berlin School
• New Generation Malayalam
• Remodernist Film
• Pluginmanifesto

The history of film is a fascinating journey through time, where technological advancements and artistic expressions blend to create the enchanting world of cinema.

From the early flickers of silent images to the immersive experience of modern masterpieces, film has continuously evolved, capturing the imagination of audiences worldwide.

This visual guide to the history of film will take you on a cinematic adventure, exploring the milestones that have shaped this art form.

The history of film can be divided into several distinct eras, each of which is characterized by certain technological, artistic, and social developments.

The History Of Film Timeline — All Eras Of Film History

Tracing the history of film is like unrolling a film reel that stretches back over a century. It begins in the late 19th century, with inventors across the globe experimenting with moving images.

This era saw the birth of motion pictures and the silent film era, where stories were told without spoken dialogue, often accompanied by live music.

The 1920s heralded the advent of sound in cinema, revolutionizing the way stories were told and experienced.

The Golden Age of Hollywood in the 1930s and 1940s brought iconic stars and blockbuster films, setting a high bar for cinematic excellence.

The post-war era saw the rise of international cinema, with filmmakers around the world contributing diverse perspectives and styles.

The 1960s and 1970s witnessed a wave of innovation and rebellion against traditional storytelling, leading to the emergence of new genres and filmmaking techniques.

The advent of digital technology in the late 20th and early 21st centuries transformed film production, distribution, and consumption, leading to the contemporary era of film, where visual effects and digital storytelling continue to push the boundaries of what’s possible in cinema.

The History Of Film Timeline

The history of film can be traced back to the late 19th century, with the invention of motion picture cameras and the earliest recorded screenings of moving images.

1895: The first public screening of a motion picture takes place in Paris, France, using the invention of the Cinematograph by the Lumière brothers.

1903: The Great Train Robbery is released.

1915: The Birth of a Nation is released.

1927: The first “talkie” (motion picture with synchronized sound) is released, The Jazz Singer.

1930s: The Hollywood studio system, characterized by the major studios’ control over distribution and exhibition, emerges as the dominant force in American cinema.

1940s: Hollywood produces many films during World War II, many of them aimed at boosting morale and supporting the war effort.

1950s: Television becomes a major competitor to the film industry, leading to a slow decline in theater attendance.

1960s: The French New Wave, a movement characterized by a rejection of traditional Hollywood filmmaking techniques, becomes influential in international cinema.

1970s: The rise of independent cinema in the United States and the emergence of new Hollywood , characterized by a greater focus on personal expression and experimentation, takes place.

1980s: The advent of home video leads to a decline in theater attendance, but also allows for greater distribution of independent films.

1990s: The emergence of digital technology leads to a new wave of independent filmmaking and the rise of the Sundance Film Festival as a major showcase for independent films.

2000s: The proliferation of streaming platforms leads to a major shift in the way films are distributed and consumed.

2010s: The rise of superhero films and franchises dominate the box office and streaming platforms become the go-to destination for film consumption.

The Film Movements

There have been many film movements throughout the history of cinema, each with its own distinct style, themes, and techniques.

These are some of the main film movements that have shaped the history of cinema and continue to influence the way films are made today.

Each movement has its own unique style, themes and techniques and each one has made a significant impact in the world of cinema.

1. French Impressionism (1918-1930)     

French Impressionism in film emerged as an artistic response to the brutal realities of World War I, offering an alternative to the commercial cinema of the era.

This movement focused on the subjective experience of characters, using visual techniques such as naturalistic lighting, soft focus , and fluid camera movements to convey emotion and mood.

Filmmakers like Abel Gance and Jean Epstein sought to express inner realities, psychological complexities, and human emotions through a poetic and metaphorical style.

This approach transformed the medium into a form of artistic expression that emphasized mood and atmosphere over narrative.

2. German Expressionism (1919-1926)   

German Expressionism, born in the aftermath of World War I, was characterized by its use of stark, distorted sets, high contrast lighting, and bold shadows to evoke an emotional response.

This style was heavily influenced by the socio-political climate of post-war Germany, reflecting the anxieties and uncertainties of the time.

Iconic films like The Cabinet of Dr. Caligari and Nosferatu are prime examples of this movement, showcasing exaggerated set designs and a focus on themes like madness, betrayal, and the supernatural.

The movement had a profound influence on later genres, particularly in the development of horror and film noir.

3. Dadaism And Surrealism (1924-1930)

Dadaism and Surrealism in cinema were part of a broader artistic movement that rebelled against conventional art forms and societal norms.

Surrealist filmmakers like Luis Buñuel and Salvador Dalí created films that challenged reality, embracing the irrational and the absurd.

They used dreamlike sequences, bizarre imagery, and illogical narratives to subvert traditional storytelling techniques.

These films often explored the unconscious mind, seeking to shock and provoke the audience into questioning their perceptions of reality.

4. Soviet Montage (1924-1935) 

The Soviet Montage movement, pioneered by directors like Sergei Eisenstein and Dziga Vertov, revolutionized film editing.

Montage theory posited that film’s power lies in the editing, where the juxtaposition of images can create new meanings and elicit emotional responses from the audience.

This movement emerged in post-revolutionary Russia and aimed to use cinema as a tool for social and political change.

Films like “Battleship Potemkin” and “Man with a Movie Camera” showcased this dynamic editing style, using rapid cuts and symbolic imagery to convey powerful social messages and to experiment with the language of cinema.

5. Pre-Code Hollywood (1927-1934)

Pre-Code Hollywood refers to a brief era in the American film industry between the advent of sound in 1927 and the enforcement of the Hays Code censorship guidelines in 1934.

This period was known for more daring films that tackled subjects considered taboo by later standards, including sexual innuendo, violence, and social criticisms.

Movies from this era, such as “Scarface” and “Baby Face,” often portrayed strong female characters , challenged traditional societal norms, and pushed the boundaries of what was acceptable on screen.

The period ended when the Hays Code began to be rigorously enforced, significantly restricting the content filmmakers could show.

6. Documentary Film Movement (1929-1950)    

The Documentary Film Movement, spanning from the late 1920s to the 1950s, marked the rise of documentary films as a powerful tool for education, propaganda, and social commentary.

Pioneers like Robert Flaherty, John Grierson, and Pare Lorentz expanded the scope of documentaries, using them to explore social issues, record historical events, and influence public opinion.

Films like “Nanook of the North” and “The Plow That Broke the Plains” showcased real-life situations and environments, combining artistic storytelling with factual reporting.

7. Poetic Realism (1930-1939)    

Poetic Realism was a film movement in France during the 1930s, blending realism with lyrical visual elements.

Directors such as Jean Renoir and Marcel Carné created films that portrayed daily life with a sense of beauty, melancholy, and romanticism.

This style often featured narratives about working-class characters and their struggles, enveloped in atmospheres that evoked mood and emotion rather than focusing solely on plot.

Films like “Le Jour Se Lève” and “The Rules of the Game” are exemplary, blending the harsh realities of life with poetic and artistic elements.

8. Italian Neorealism (1942-1951)

Italian Neorealism emerged during World War II as a reaction against the escapism of mainstream cinema.

This movement focused on stories about ordinary people and their daily struggles, often using non-professional actors and shooting on location to capture the reality of post-war Italy.

Directors like Roberto Rossellini, Vittorio De Sica, and Federico Fellini presented a raw, unfiltered view of societal challenges and human conditions.

Films like “Bicycle Thieves” and “Rome, Open City” are considered classics of this genre, portraying the gritty reality of life with deep empathy and honesty.

9. The Polish School (1955-1963)

The Polish School was a post-war film movement in Poland, characterized by its thematic exploration of Polish history and the human psyche under oppressive regimes.

Directors like Andrzej Wajda and Jerzy Kawalerowicz created films that were artistically expressive and politically engaged, often examining the nation’s wartime experiences and struggles with identity.

Movies from this era, such as “Ashes and Diamonds” and “Mother Joan of the Angels,” are notable for their deep introspection, stylistic innovation, and subtle defiance of socialist realism.  

10. Free Cinema (1956-1959)

Free Cinema was a British documentary film movement in the late 1950s, initiated by filmmakers like Lindsay Anderson, Karel Reisz, and Tony Richardson.

It was born out of a desire to portray the everyday lives of working-class Britons and to challenge the conventions of mainstream cinema.

The movement emphasized a candid, unpolished style, often focusing on marginalized communities and social issues.

Films such as “Look Back in Anger” and “Saturday Night and Sunday Morning” exemplified this style, combining realism with a strong personal voice and artistic integrity.

11. Direct Cinema (1958-1962)  

Direct Cinema, emerging in the late 1950s and early 1960s, was a North American documentary genre that sought to observe life as it is without any direct intervention from the filmmaker.

Pioneers like D. A. Pennebaker, Frederick Wiseman, and the Maysles Brothers aimed to create a fly-on-the-wall perspective, capturing events as they unfolded.

This style marked a departure from traditional, narrated documentaries, focusing instead on candid moments.

Films like “Don’t Look Back” and “Salesman” exemplified this approach, offering unfiltered glimpses into human experiences and societal segments.

12. British New Wave (1958-1963)

The British New Wave was a cinematic movement that portrayed the lives of working-class Britons, characterized by its gritty realism, complex characters, and social commentary.

Directors like Tony Richardson, Lindsay Anderson, and Karel Reisz drew inspiration from the Free Cinema movement, emphasizing naturalistic performances and location shooting.

Their films often dealt with contemporary social issues, challenging the established norms of British society.

Movies such as “A Taste of Honey” and “The Loneliness of the Long Distance Runner” highlighted the struggles and aspirations of the youth and working class.

13. French New Wave (1959-1964)

The French New Wave, or Nouvelle Vague, was a radical and influential film movement led by directors like François Truffaut, Jean-Luc Godard, and Claude Chabrol.

It revolutionized cinema with its innovative techniques, including jump cuts, natural lighting, and on-location shooting. The movement was known for its rejection of traditional filmmaking conventions, embracing a more personal and experimental approach.

Films like “Breathless” and “The 400 Blows” broke cinematic norms, offering fresh narratives and visual styles that heavily influenced future filmmaking.

Some of the key figures in the French New Wave include directors such as François Truffaut, Jean-Luc Godard , Alain Resnais, and Eric Rohmer.

Some of the notable films of the era include The 400 Blows (1959) by François Truffaut, Breathless (1960) by Jean-Luc Godard, Hiroshima Mon Amour (1959) by Alain Resnais and My Night at Maud’s (1969) by Eric Rohmer.

The French New Wave had a significant impact on the development of French cinema and international cinema as well.

It influenced the development of other film movements such as the British Free Cinema and the Italian Neorealism and it is still considered one of the most important film movements of the 20th century.

The use of handheld cameras, location shooting, and the focus on youthful and unconventional storytelling are still techniques used in contemporary cinema.  

14. Cinema Novo (1960-1972)

Cinema Novo is a film movement that emerged in Brazil in the 1960s, specifically between 1960 and 1972. The movement was characterized by a focus on social and political themes, the use of non-professional actors, and a rejection of traditional filmmaking techniques and conventions.

Cinema Novo filmmakers were a group of Brazilian directors, including Glauber Rocha, Ruy Guerra, and Carlos Diegues, who sought to break away from the conventions of Brazilian cinema, which they saw as being overly commercial and lacking in artistic ambition.

They aimed to create a new type of cinema that would be more honest and realistic in its portrayal of working-class life and social issues.

Some of the key figures in Cinema Novo include directors such as Glauber Rocha, Ruy Guerra, and Carlos Diegues. Some of the notable films of the era include Terra em Transe (1967) by Glauber Rocha, Os Cafajestes (1962) by Ruy Guerra and Deus e o Diabo na Terra do Sol (1964) by Glauber Rocha.

Cinema Novo had a significant impact on the development of Brazilian cinema and it influenced other film movements such as the Latin American New Cinema and Third Cinema.

The use of non-professional actors, real locations, and the focus on social and political themes are still techniques used in contemporary cinema.

It also marked a new era of Brazilian cinema, where the films were more socially conscious and dealt with issues of poverty and inequality.

15. Czech New Wave (1962-1968)

The Czech New Wave, also known as the Czechoslovak New Wave, is a film movement that emerged in Czechoslovakia in the 1960s, specifically between 1962 and 1968.

The movement was characterized by a focus on social and political themes, a rejection of traditional filmmaking techniques and conventions, and a focus on the use of unconventional storytelling.

The Czech New Wave filmmakers were a group of young Czech and Slovak directors, including Milos Forman, Ivan Passer, and Vera Chytilová, who sought to break away from the conventions of Czech and Slovak cinema, which they saw as being overly traditional and lacking in artistic ambition.

They aimed to create a new type of cinema that would be more innovative, personal, and expressive.

Some of the key figures in the Czech New Wave include directors such as Milos Forman, Ivan Passer, and Vera Chytilová.

Some of the notable films of the era include Loves of a Blonde (1965) by Milos Forman, Intimate Lighting (1965) by Ivan Passer, and Daisies (1966) by Vera Chytilová.

The Czech New Wave had a significant impact on the development of Czech and Slovak cinema and it influenced other film movements such as the French New Wave.

The use of unconventional storytelling, the focus on social and political themes, and the use of non-professional actors are still techniques used in contemporary cinema.

It also marked a new era of Czech and Slovak cinema, where the films were more innovative and dealt with issues of society and politics.       

16. The Movie Brats (Late 1960s – 1980s)             

The “Movie Brats” were a group of influential American film directors who came to prominence in the late 1960s and 1970s.

They included Martin Scorsese , Francis Ford Coppola , George Lucas, Brian De Palma , and Steven Spielberg.

These directors came from a variety of backgrounds, but they shared a common desire to break free from the conventions of Hollywood filmmaking and create more personal and experimental films.

They were known for their bold, innovative styles and their ability to push the boundaries of what was considered possible in cinema. Some of their most famous films include The Godfather, Jaws, Star Wars, and Taxi Driver.

17. LA Rebellion (1967-1991)

The LA Rebellion is a group of African American, Asian American, and Latino American filmmakers from UCLA’s School of Theater, Film and Television, active in the period between 1967 to 1991.

They produced a body of independent films that sought to tell stories and depict the experiences of underrepresented communities, particularly those of people of color, in the United States.

The filmmakers of the LA Rebellion aimed to create a new kind of cinema that was rooted in the lives and experiences of marginalized communities, and that could serve as a counter to the dominant white, male-centered Hollywood narrative.

Some of the most notable filmmakers of the LA Rebellion include Charles Burnett, Julie Dash, Haile Gerima, and Billy Woodberry.

Their films dealt with themes such as racism, poverty, and urban life and they were shot in a low budget and independent way.

The LA Rebellion films were not widely seen during the time they were made, but today they are considered important and influential works of independent cinema 

18. New German Cinema (1968-1982)    

New German Cinema, also known as “Young German Cinema” or “New Wave” was a movement in German cinema that emerged in the late 1960s and lasted until the early 1980s.

It was characterized by a group of young, independent filmmakers who sought to break away from the commercial and artistic conventions of the German film industry.

They aimed to create a new kind of cinema that was more personal, experimental, and reflective of the social and political changes happening in West Germany at the time.

Some of the key figures of New German Cinema include Rainer Werner Fassbinder , Wim Wenders, Volker Schlöndorff, and Werner Herzog.

They directed films that dealt with themes such as identity, social change, and the legacy of the Nazi past. They often used unconventional narrative structures, and often shot on low budgets and non-professional actors.

The movement had a significant impact on the German film industry, and many of the directors associated with New German Cinema went on to international success.

Their films have been praised for their exploration of complex social and political issues, and for their innovative style and storytelling.

17. Japanese New Wave (1975-1985)     

The Japanese New Wave, also known as the “Japanese New Cinema” or the “Japanese New Wave,” was a movement in Japanese cinema that emerged in the late 1970s and lasted until the mid-1980s. I

t was characterized by a group of young, independent filmmakers who sought to break away from the commercial and artistic conventions of the Japanese film industry.

They aimed to create a new kind of cinema that was more personal, experimental, and reflective of the social and political changes happening in Japan at the time.

Some of the key figures of the Japanese New Wave include Nagisa Oshima, Shohei Imamura, Susumu Hani and Terayama Shuji.

They directed films that dealt with themes such as sexuality, violence, and the changing nature of Japanese society. They often used unconventional narrative structures, and often shot on low budgets with non-professional actors.

The movement had a significant impact on the Japanese film industry, and many of the directors associated with the Japanese New Wave went on to international success.

18. Australian New Wave (1975-1985)   

The Australian New Wave was a movement in Australian cinema that emerged in the mid-1970s and lasted until the mid-1980s.

It was characterized by a group of young, independent filmmakers who sought to break away from the commercial and artistic conventions of the Australian film industry.

They aimed to create a new kind of cinema that was more personal, experimental, and reflective of the social and political changes happening in Australia at the time.

Some of the key figures of the Australian New Wave include Peter Weir, Bruce Beresford, Gillian Armstrong, and Fred Schepisi.

They directed films that dealt with themes such as the relationship between the Indigenous population and the colonizers, the changing nature of Australian society, and the country’s relationship with its past.

They often used unconventional narrative structures and often shot on low budgets with non-professional actors.

The movement had a significant impact on the Australian film industry and brought international attention to the country’s cinema.

The New Wave filmmakers were able to tell stories that were more reflective of the Australian experience, and they were able to break away from the stereotypes that had been associated with Australian films in the past.

19. Cinéma Du Look (1980-1991)              

Cinéma Du Look was a French film movement that emerged in the early 1980s and lasted until the early 1990s.

It was characterized by a group of young, independent filmmakers who sought to break away from the artistic conventions of the French New Wave cinema and create a new, more visually striking and extravagant style of filmmaking.

They often used flashy, stylized visuals, fast-paced editing, and a focus on youth and popular culture.

Some of the key figures of Cinéma Du Look include Jean-Jacques Beineix, Leos Carax, Luc Besson and Andrzej Zulawski.

They directed films that dealt with themes such as romance, crime, and the search for identity. They often used a visual style that was heavily influenced by music videos , advertising, and comic books, and they often incorporated elements of pop culture into their films.

The Cinéma Du Look movement was met with mixed reactions, some critics praised its visual style and energy while others criticized it as shallow and superficial.

Despite that, it had a significant impact on the French film industry and some of the filmmakers associated with Cinéma Du Look went on to international success.

Their films are still considered visually striking and memorable today, but also criticized for their lack of depth in storytelling.

20. New Queer Cinema 1990 – 1995        

New Queer Cinema (NQC) was a movement in American independent film that emerged in the early 1990s and lasted until the mid-1990s.

It was characterized by a group of young, openly LGBTQ+ filmmakers who sought to break away from the conventions of mainstream Hollywood cinema and create a new kind of cinema that reflected the experiences and perspectives of the LGBTQ+ community.

They aimed to create films that were more personal, experimental, and reflective of the social and political changes happening in the United States at the time.

Some of the key figures of New Queer Cinema include Gregg Araki, Todd Haynes, and John Waters. They directed films that dealt with themes such as sexuality, gender, and the experiences of marginalized communities.

The movement had a significant impact on the American film industry, bringing visibility to LGBTQ+ stories and perspectives, and many of the NQC filmmakers went on to international success.

Their films were praised for their exploration of complex and controversial issues, and for their innovative style and storytelling.

They were also criticized for their sometimes controversial and graphic content. NQC has been considered as an important contribution to the representation of LGBTQ+ people in the media.

21. Dogme 95 (1995 – 2005)        

Dogme 95 was a filmmaking movement that emerged in Denmark in 1995. It was founded by Lars von Trier and Thomas Vinterberg, and it aimed to create a new kind of cinema that was more pure and authentic.

Dogme 95 filmmakers adhered to a set of strict rules, or “vows of chastity,” that aimed to strip away the artifice of traditional filmmaking and create a more raw, realistic style of filmmaking.

The rules of Dogme 95 stipulated that films must be shot on location, with no special lighting or sound effects, and that they must use only hand-held cameras. Other rules included: no genre movies, no special effects, no artificial music and no movie should be shot in more than one location.

Some of the key figures of Dogme 95 include Lars von Trier, Thomas Vinterberg, and Søren Kragh-Jacobsen. They directed films that dealt with themes such as relationships, family, and the human condition. Their films often had a raw, realistic style and dealt with serious and often controversial issues.

The Dogme 95 movement had a significant impact on the Danish film industry, and many of the filmmakers associated with the movement went on to international success.

Their films were praised for their innovative style, and for their focus on storytelling over spectacle. However, it was criticized for being limiting and for not allowing for creativity. Dogme 95 was a short-lived movement, ending around 2005.

22. Mumblecore (2002-)

Mumblecore is a subgenre of independent American cinema that emerged in the early 2000s and is still ongoing.

The movement is characterized by a group of young, independent filmmakers who create low-budget, dialogue-driven films that often focus on the everyday lives and relationships of young adults.

Mumblecore filmmakers often use non-professional actors, natural lighting, and minimal crew and shooting equipment to create a realistic, raw and intimate style.

Some of the key figures of Mumblecore include Andrew Bujalski, Joe Swanberg, and the Duplass brothers.

They directed films that deal with themes such as dating, friendships, and the struggles of young adulthood. Their films often have a low-key, slice of life feel and are known for the use of improvisation and the use of the actors own experiences to shape the story.

The Mumblecore movement has had a significant impact on the independent American cinema, and its influence can be seen in the works of many young filmmakers today.

Their films are praised for their honest and realistic portrayal of everyday life, and for their focus on character development over traditional plot-driven storytelling. However, it’s also criticized for being overly simplistic, and for lacking ambition.

When Were Movies Invented?

The genesis of movies dates back to the late 1800s when inventors and artists began toying with the idea of creating moving pictures.

This era was marked by various inventions that captured sequential images, setting the stage for the first motion pictures.

The exact date of the ‘invention’ of movies is debated, but it’s widely accepted that the late 19th century marked the birth of cinema as we know it.

Movies, also known as motion pictures, were invented in the late 19th century. The history of film can be traced back to the invention of the motion picture camera, which was developed in the late 1800s by inventors such as Thomas Edison and the Lumière Brothers.

In 1895, the Lumière Brothers, Auguste and Louis, presented the first public screening of motion pictures in Paris, France.

They showed a series of short films , each lasting about a minute, that featured everyday scenes such as a train arriving at a station and workers leaving a factory.

These early films were shot on celluloid film , which was the standard medium for motion pictures until the advent of digital technology in the 21st century.

In the United States, Thomas Edison and his associate, William Kennedy Dickson, had developed a similar device, the kinetoscope, in the early 1890s.

The kinetoscope was a peephole viewer that allowed one person at a time to watch short, looping films.

Thus, movies can be considered to have been invented in the late 19th century, with the invention of motion picture cameras and the first public screenings of films.

The Lumière Brothers and Thomas Edison are considered to be among the early pioneers of the motion picture industry.

The First Motion Pictures

The first motion pictures were simple yet groundbreaking. In the 1890s, pioneers like the Lumière brothers in France and Thomas Edison in the United States developed devices capable of capturing and projecting moving images.

These early films were short, often depicting everyday scenes, but they captivated audiences with the magic of moving pictures.

The Lumière brothers’ “Arrival of a Train at La Ciotat” and Edison’s “The Kiss” are iconic examples from this era.

The first motion pictures, later known as movies, were developed in the late 19th century by inventors such as the Lumière Brothers and Thomas Edison.

The Lumière Brothers, Auguste and Louis, were two French inventors who developed the Cinématographe, a motion picture camera, projector, and printer all in one.

On December 28, 1895, they presented the first public screening of motion pictures in Paris, France.

The program consisted of ten short films, each lasting about a minute, that featured everyday scenes such as a train arriving at a station and workers leaving a factory.

The kinetoscope was a peephole viewer that allowed one person at a time to watch short, looping films. The first kinetoscope parlor opened in New York City in 1894, where customers could pay a nickel to watch short films.

While both the Lumière Brothers and Thomas Edison contributed to the invention of motion pictures, the Lumière Brothers’ public screening in 1895 is considered the first true motion picture exhibition.

Their films were shown on a large screen to a paying audience, and this model of exhibition would go on to become the standard for movie theaters in the 20th century.

When Was Film Invented?

The invention of film as a medium can be traced back to the 1880s when George Eastman developed celluloid film strips.

However, the concept of capturing sequential images to create motion pictures evolved over several years, with multiple inventors contributing to its development. As we’ve covered, tt was in the 1890s that filmmaking itself emerged as a viable medium for storytelling, leading to the establishment of the film industry.

The history of film can be traced back to the invention of celluloid film, which was developed by George Eastman in 1884.

Eastman’s invention made it possible to take photographs on a roll of film, rather than having to use glass plates.

This made photography more accessible and affordable, and it paved the way for the development of motion picture cameras.

Pre-Film Techniques & Theory

Before the invention of motion picture cameras, several techniques and theories were developed that would later lay the foundation for the creation of moving images.

The Phenakistoscope, invented by Belgian Joseph Plateau in 1832, was a spinning disc that created the illusion of motion when viewed through slits.

The Zoetrope, invented by William Horner in 1834, was similar to the Phenakistoscope but used a cylinder with slits instead of a disc.

The Praxinoscope, invented by French Charles-Émile Reynaud in 1877, was an improved version of the Zoetrope that used mirrors to create a brighter and more stable image.

The theory of Persistence of Vision was first proposed by British scientist Peter Mark Roget in 1824, which suggested that the human eye retains a visual image for a fraction of a second after the source of the image is removed.

This theory was used to explain why the rapid succession of static images in these pre-film devices appeared to be moving.

The invention of the photographic process by Frenchman Joseph Nicéphore Niépce in 1827 and Louis Daguerre in 1839, allowed for the creation of permanent, light-sensitive images on a surface.

The invention of celluloid film by American George Eastman in 1884, allowed for the mass production of transparent, flexible film strips that could be used in motion picture cameras.

The invention of the motion picture camera by the Lumière brothers in 1895 and the invention of the projector by Thomas Edison in 1896, made it possible to record and display moving images to large audiences.

All these pre-film techniques and theories were essential for the development of the motion picture camera and the creation of the first motion pictures.

The End Of The Silent Era

The end of the silent era in film is generally considered to be around the late 1920s, when the first “talkies” (motion pictures with synchronized sound) were introduced.

The release of The Jazz Singer in 1927, directed by Alan Crosland and starring Al Jolson, is often considered the turning point in the transition from silent to sound films.

The film was a commercial success and marked the first feature-length motion picture with synchronized dialogue and singing.

After the release of The Jazz Singer, Hollywood studios quickly began to produce sound films, which were more expensive to make than silent films.

This led to a decline in the production of silent films and many silent film stars found themselves out of work.

However, the transition to sound was not immediate, and some silent films continued to be made well into the 1930s.

Additionally, many early sound films were not fully synchronized, and sometimes included only a musical soundtrack, or sound effects without dialogue.

The end of the silent era brought significant changes to the film industry, including the introduction of sound recording and editing equipment, the rise of the Hollywood studio system, and the decline of many silent film stars and independent filmmakers.

The end of the silent era also marked the beginning of a new era in cinema, where sound and dialogue became an integral part of the film experience and changed the way stories were told onscreen.

Pre-Code Hollywood refers to a distinct and dynamic period in the American film industry, spanning from the late 1920s until the enforcement of the Motion Picture Production Code in 1934.

This era, which coincided with the end of silent films and the rise of “talkies,” was marked by a significant departure from traditional norms in terms of content and narrative style.

During this time, Hollywood films explored themes and subject matter with a boldness and freedom that would later be curtailed by stricter censorship regulations.

The advent of sound in cinema brought with it new opportunities for storytelling. Dialogue added a new dimension to films, allowing for more complex and nuanced narratives.

This technical revolution coincided with significant societal changes, including the aftermath of World War I, the Roaring Twenties, and the onset of the Great Depression, all of which influenced the content of films during this period.

Films of the Pre-Code era often featured content that would later be deemed controversial or even taboo.

This included open discussions of sexuality, infidelity, and promiscuity, as well as depictions of violence and crime.

Movies such as “Scarface” (1932) and “The Public Enemy” (1931) offered gritty, unglamorous portrayals of gangsters and crime, in stark contrast to the glorified depictions seen in later years.

Similarly, films like “Baby Face” (1933) and “Red-Headed Woman” (1932) portrayed strong, sexually liberated female characters who defied the traditional norms of the time.

This era also saw the exploration of social issues, such as poverty, race, and class struggle, in a manner that would later be softened or avoided altogether.

Films were more direct in their commentary on the societal problems of the day, often presenting a critical view of the status quo.

The Pre-Code era came to an end with the enforcement of the Motion Picture Production Code, commonly known as the Hays Code, in 1934. This set of industry moral guidelines drastically changed the landscape of American cinema.

The Code, named after Will H. Hays, who was the president of the Motion Picture Producers and Distributors of America (MPPDA), imposed specific restrictions on the content of films.

It prohibited profanity, suggestive nudity, the portrayal of illegal drug use, and the sympathy for criminals, among other things. The enforcement of this code marked the end of the freewheeling nature of Pre-Code Hollywood , ushering in a more conservative era in American film.

Despite its relatively short duration, the Pre-Code Hollywood era had a lasting impact on the film industry.

It was a time of immense creativity and innovation, pushing the boundaries of what was acceptable in mainstream entertainment.

The films of this period offered a candid, often provocative glimpse into the complexities of human behavior and social issues, leaving a legacy that continues to fascinate film historians and audiences alike.

The Pre-Code era serves as a reminder of a time when Hollywood briefly flirted with a level of artistic freedom that would not be seen again for many decades.

The Early Golden Age And Color In Film

The early Golden Age of Hollywood, spanning the 1930s and 1940s, was a period of unprecedented growth and innovation in the American film industry.

It was during this era that Hollywood truly solidified its status as the epicenter of global filmmaking, producing some of the most iconic and enduring films in history.

This period was characterized not only by its glamorous star system and larger-than-life movie moguls but also by significant technological advancements, most notably the introduction of color in films.

The transition to color cinema was a monumental shift. Technicolor, the most widely used color process, added a vivid, dynamic quality to films that captivated audiences.

The 1939 releases of The Wizard of Oz and Gone with the Wind marked pivotal moments in cinematic history, showcasing the stunning potential of color filmmaking.

These films not only wowed audiences with their visual splendor but also demonstrated how color could enhance storytelling, adding emotional depth and realism to the cinematic experience.

Beyond technological advancements, the early Golden Age was a time of artistic excellence and exploration.

Studios, under the studio system, wielded enormous power, controlling every aspect of film production, from script to screen.

This system allowed for the creation of highly polished and stylistically consistent films but also, at times, led to formulaic productions.

Despite this, many directors, actors, and writers found ways to push creative boundaries within the constraints of the studio system.

The era saw the emergence of many of Hollywood’s most legendary figures, including directors like Alfred Hitchcock , Frank Capra , and John Ford , and stars such as Clark Gable, Bette Davis, and Katharine Hepburn.

Their work during this period left an indelible mark on the industry and contributed to the mythos of Hollywood.

The early Golden Age of Hollywood was more than just a time of technological innovation and star-making; it was a period that laid the foundation for narrative and aesthetic standards that continue to influence filmmaking today.

It was a time of opulence and creativity that represented the height of cinematic artistry in the pre-television era.

Wartime & Propaganda Films

During World War II, cinema played an instrumental role on the home front and in the psychological warfare against enemy nations.

Film, with its mass appeal and emotional impact, became a crucial tool for propaganda and morale-boosting, used by both the Allied and Axis powers.

The period saw the film industry in various countries actively participating in the war effort, producing a wide range of content from direct propaganda to more subtle works that embedded nationalistic and ideological messages.

In the United States, Hollywood was transformed into a propaganda machine, with many studios and filmmakers working directly with the government to produce content that supported the war effort.

This collaboration led to films that glorified the Allied troops, demonized the enemy, and promoted national unity and sacrifice.

Movies like “Casablanca” (1942) and “Mrs. Miniver” (1942) are notable examples, blending entertainment with subtle and overt messages supporting the war.

The propaganda films of this era often employed stirring narratives of heroism, sacrifice, and resilience.

They aimed to bolster public morale, encourage support for the war effort, and foster a sense of national identity and purpose.

Documentaries and newsreels also played a significant role, offering a curated glimpse of the warfront, meant to inform and inspire audiences back home.

Moreover, the war years saw the rise of films that depicted life on the home front, reflecting the challenges and changes in societies engaged in total war.

These films often highlighted the roles of women and families, the importance of the civilian contribution to the war effort, and the shared sacrifices required in times of conflict.

The impact of wartime and propaganda films extended beyond their immediate political and military objectives.

They influenced public opinion, shaped national and cultural identities, and left a lasting legacy on the film industry.

The techniques and styles developed during this period continued to influence filmmaking in the post-war years, both in terms of narrative content and the use of cinema as a tool for social and political influence.

Post-War Film Movements

The post-World War II era witnessed the emergence of several influential film movements around the world, as filmmakers sought to address the realities of a world transformed by conflict.

These movements, diverse in their styles and objectives, shared a common interest in exploring new forms of storytelling and cinematic expression.

Italian Neorealism, emerging in the mid-1940s, was a response to the war’s devastation and the Fascist regime’s collapse in Italy.

Directors like Roberto Rossellini , Vittorio De Sica, and Federico Fellini sought to depict the harsh realities of everyday life, focusing on ordinary people and their struggles.

Their films were characterized by on-location shooting, the use of non-professional actors, and a focus on the plight of the working class and the poor.

Classics such as “Bicycle Thieves” (1948) and “Rome, Open City” (1945) exemplified this movement’s raw, empathetic approach to storytelling.

In France, the New Wave (Nouvelle Vague) emerged in the late 1950s and early 1960s, driven by a group of young filmmakers who had grown disillusioned with traditional cinematic forms.

Directors like François Truffaut, Jean-Luc Godard, and Claude Chabrol championed a more personal and experimental approach to filmmaking.

They broke conventional narrative structures, utilized innovative techniques, and often acted as both writers and directors for their films.

The New Wave had a profound influence on global cinema, encouraging a more introspective and stylistically bold approach to filmmaking.

Other post-war movements included Japanese New Wave , German New Cinema , and the British Free Cinema .

Each of these movements, in their respective countries, represented a break from established filmmaking practices and a desire to address contemporary social and political issues through a more realistic and personal cinematic lens.

These post-war film movements played a crucial role in shaping the future of global cinema.

They not only challenged traditional narratives and styles but also paved the way for future generations of filmmakers to explore more diverse and complex themes in their work.

Their legacy is seen in the continued evolution of film as a medium for personal expression and social commentary.

The Golden Age Of Hollywood

The Golden Age of Hollywood, a term often used to describe the period from the late 1920s to the early 1960s, was a time of remarkable achievement and influence for the American film industry.

This era is remembered for its significant contributions to cinematic history, including the establishment of the studio system, the rise of iconic movie stars, and the production of films that have stood the test of time.

During the Golden Age, the Hollywood studio system was at its peak. Major studios like MGM, Warner Bros., Paramount , 20th Century Fox, and RKO controlled all aspects of film production, distribution, and exhibition.

They operated under a factory-like system, churning out films on a regular schedule and managing the careers of their contracted stars, directors, and writers.

This system allowed for a high degree of control over the filmmaking process, resulting in a consistent style and quality across productions.

The era produced a vast array of classic films that have become cultural touchstones. Genres like the musical, the screwball comedy, film noir , and the epic were either born or perfected during this time.

Films such as “Casablanca” (1942), “Gone with the Wind” (1939), “Citizen Kane” (1941), and “Singin’ in the Rain” (1952) not only exemplified the artistic heights of the era but also left a lasting impact on the language of cinema.

The Golden Age also saw the rise of some of the most legendary figures in film history. Stars like Humphrey Bogart, Marilyn Monroe, James Stewart, and Elizabeth Taylor became synonymous with Hollywood glamour and talent.

Directors such as Alfred Hitchcock, Orson Welles , and Billy Wilder made some of their most important works during this period.

Despite its name, the Golden Age was not without its challenges. The era saw the rise of anti-Communist sentiment in Hollywood, leading to the infamous blacklist.

The end of the period was marked by the decline of the studio system, changes in audience tastes, and the rise of television as a competing form of entertainment.

The Golden Age of Hollywood was a defining period in cinema history, shaping the industry and establishing standards in storytelling, visual style, and star power that continue to influence filmmakers today.

It was a time when Hollywood was synonymous with the film industry, producing works that remain iconic in the collective cultural memory.

The New Hollywood era, which spanned from the late 1960s to the 1980s, marked a significant transformation in American filmmaking.

This period saw a departure from the traditional studio system and the rise of a new generation of filmmakers who brought fresh perspectives and innovative techniques to cinema.

The era is characterized by a greater emphasis on artistic expression, thematic complexity, and auteur-driven projects.

Directors such as Francis Ford Coppola , Martin Scorsese , Steven Spielberg , and George Lucas were at the forefront of this movement.

They, along with their contemporaries, were influenced by various international film movements and the changing social and cultural landscape of the United States.

Their films often featured more realistic, gritty content, exploring themes of alienation, moral ambiguity, and societal conflict. This was a stark contrast to the more sanitized, formulaic productions of the earlier studio era.

New Hollywood filmmakers pushed the boundaries of cinematic storytelling, experimenting with narrative structures, visual styles, and editing techniques.

This period saw the birth of the modern blockbuster with films like “Jaws” (1975) and “Star Wars” (1977), which not only achieved unprecedented box office success but also transformed the business and marketing strategies of the film industry.

This era was also marked by the rise of independent filmmaking. Directors often worked outside the traditional studio system, allowing for greater creative control and the opportunity to tackle more unconventional subjects.

This independence fostered a more personal and intimate style of filmmaking, evident in movies like “Easy Rider” (1969) and “Taxi Driver” (1976).

The influence of New Hollywood extended beyond narrative and aesthetic innovations. It represented a shift in the power dynamics of the industry, with directors and writers gaining more influence relative to studio executives.

This period also saw the emergence of a more sophisticated audience, one that was more critical and attuned to the artistic aspects of filmmaking.

However, by the end of the 1970s and into the 1980s, the landscape began to change again. The success of blockbuster films led to a renewed emphasis on high-concept, commercially viable productions.

This shift marked the decline of the New Hollywood era, as the industry moved towards franchises and big-budget spectacles.

The legacy of New Hollywood is significant; it marked a period of rejuvenation and creativity that redefined American cinema.

The filmmakers of this era inspired subsequent generations of directors and contributed to the evolution of film as an art form.

Dogme 95 & Independent Film Movements

In the 1990s, a unique and groundbreaking film movement emerged in Denmark, known as Dogme 95.

Initiated by filmmakers Lars von Trier and Thomas Vinterberg , Dogme 95 was a manifesto that advocated for a return to the fundamental elements of filmmaking.

The movement imposed strict rules to strip away production excesses, such as artificial lighting, sound post-production, and use of props not found on-site.

This minimalist approach was aimed at focusing on story, acting, and theme, rather than on technology and effects.

Dogme 95 had a profound impact on the international film community, inspiring filmmakers to explore more raw and authentic forms of storytelling.

The first film made under this manifesto, Vinterberg’s “The Celebration” (1998), was critically acclaimed and demonstrated the potential of the movement’s principles.

Similarly, von Trier’s “The Idiots” (1998) challenged audiences with its unorthodox style and controversial subject matter.

Alongside Dogme 95, other independent film movements began to gain prominence around the world.

In the United States, the Sundance Film Festival became a major platform for independent filmmakers, showcasing works that were outside the mainstream Hollywood model.

Directors like Quentin Tarantino , Steven Soderbergh , and David Lynch became notable figures in this movement, known for their innovative storytelling and stylistic flair.

These independent movements were characterized by their rejection of conventional filmmaking practices, often operating on limited budgets and with greater creative freedom.

They explored diverse and sometimes controversial themes, offering alternative perspectives to mainstream cinema.

The impact of these movements was far-reaching, contributing to a more diverse and vibrant film landscape. They challenged the norms of the industry, encouraged experimentation, and provided a voice for filmmakers who might otherwise have been marginalized.

The legacy of movements like Dogme 95 and the broader independent film scene continues to be felt in the industry, encouraging a continuous exploration of what cinema can be and do.

How Has The Film Industry Changed Over The Years?

The film industry has undergone many changes over the years, both in terms of technology and in terms of the stories it tells and the audiences it reaches. Some of the major changes include:

Technological advancements

The film industry has seen many technological advancements over the years, from the invention of the motion picture camera in the late 19th century to the development of digital filmmaking in the 21st century.

These advancements have greatly changed the way films are made and have expanded the possibilities for what can be done with the medium.

Distribution and exhibition

The way films are distributed and exhibited has also changed over the years. With the advent of television and home video, films began to be shown in more places and to more people than ever before.

The rise of streaming platforms in recent years has further expanded the reach of films and has made it easier for audiences to access them from anywhere.

Diversification of stories and representation

The film industry has also become more diverse in terms of the stories it tells and the people it represents.

There has been an increased representation of people from marginalized communities on both sides of the camera, and a growing interest in stories that are not just about straight, white, male characters.

The rise of independent cinema

In the last few decades, there has been a rise of independent cinema, which has allowed for more diverse stories, filmmakers, and perspectives to be represented in the industry. This has led to a more varied and dynamic film landscape.

The impact of globalization

The film industry has also been greatly impacted by globalization, with the increasing internationalization of production, distribution and exhibition. This has led to more cross-cultural exchange and the emergence of new film centers around the world.

Overall, the film industry has undergone significant changes over the years, and it continues to evolve in response to new technologies and changing social and cultural attitudes.

New Film Industry Distribution Methods

In recent years, the film industry has seen the emergence of new distribution methods that have changed the way films are released and consumed. Some of the new distribution methods include:

Streaming platforms

Streaming platforms like Netflix , Amazon Prime, and Disney+ have become increasingly popular in recent years, allowing audiences to watch films and TV shows on-demand from the comfort of their own homes.

These platforms have also begun to produce their own content, which has helped to change the way films are financed and released.

Video-on-demand (VOD)

Video-on-demand (VOD) platforms like iTunes, Google Play, and Vimeo allow audiences to rent or purchase films online and watch them on their own devices.

This has given filmmakers more control over their films’ distribution and has made it easier for audiences to access films that may not have been shown in theaters.

Online film festivals

With the pandemic, online film festivals have emerged as a new way of showcasing films to audiences who can’t go to traditional festivals or movie theaters.

This has allowed for films to reach new audiences, and for films that may not have been able to travel to festivals to be seen.

Theatrical-VOD

This is a hybrid distribution strategy that allows films to be released in theaters and on VOD platforms at the same time, or shortly after.

This allows films to reach audiences who are still interested in going to the theaters, and also allows for films to be seen by audiences who may not have access to theaters in their area.

Virtual and augmented reality (VR/AR)

Filmmakers are also experimenting with new technologies like VR and AR to create immersive and interactive experiences for audiences.

This could change the way films are consumed in the future, allowing audiences to be fully immersed in a film’s world.

All these new distribution methods have given filmmakers more control over their films’ distribution, and have made it easier for audiences to access a wider variety of films.

They also have opened new opportunities for filmmakers and production companies to monetize their content and reach new audiences.

Technological Advancements In Film

From the late 19th century’s rudimentary motion picture cameras to today’s digital filmmaking, technology has dramatically transformed cinema.

The transition from silent to sound films in the late 1920s revolutionized storytelling, while the 1930s’ Technicolor process brought vibrant color to the silver screen.

The post-war era saw widescreen formats like Cinemascope enhancing the theatrical experience.

The late 20th century introduced computer-generated imagery (CGI), fundamentally changing film production and visuals.

The 21st century’s digital revolution further democratized filmmaking, making it more accessible and versatile.

Today, technologies like high-definition, 3D, and virtual reality are pushing the boundaries of cinematic experience, continuously redefining what is possible in storytelling.

Global Cinema Beyond Hollywood

While Hollywood has long been a film industry titan, global cinema offers a rich tapestry of storytelling and innovation.

European cinema, particularly Italian Neorealism and the French New Wave, has had a profound impact on film aesthetics and narrative, emphasizing realism and personal expression.

Bollywood, or Indian cinema, is renowned for its vibrant musicals and has become a significant global force.

Asian cinema, particularly Japanese, Korean , and Chinese films, has gained international acclaim for unique storytelling and technical prowess.

African cinema, though less globally recognized, offers powerful narratives deeply rooted in cultural and social contexts.

These diverse cinematic traditions not only enrich the global film landscape but also foster cross-cultural understanding and artistic exchange.

Independent & Art Cinema

The rise of independent and art cinema has been pivotal in diversifying film narratives.

Independent films, often produced outside the major studio system, have pushed the boundaries of storytelling, exploring unconventional themes and styles.

Art cinema, characterized by its experimental approach, challenges mainstream narrative conventions, often focusing on the artistic vision and personal expression of the director.

Film festivals like Sundance have become crucial platforms for showcasing and promoting independent and art cinema, providing filmmakers with exposure and opportunities to reach wider audiences.

These movements have given voice to underrepresented groups and have introduced fresh perspectives, significantly enriching the cinematic landscape and offering alternatives to mainstream commercial cinema.

Recent Trends And The Future Of Cinema

Recent trends in cinema indicate a rapidly evolving industry. The rise of superhero movies reflects a preference for high-budget spectacles and franchises.

Musicals have seen a resurgence, appealing to a broad audience seeking escapism and nostalgia.

The international market’s influence, particularly China’s, has led to more globally conscious productions.

Advancements in technology like virtual and augmented reality are creating immersive cinematic experiences, offering new ways for storytelling.

The future of cinema may see more personalized and interactive content, with streaming services already facilitating a more customized viewing experience.

As audiences’ preferences and technologies evolve, cinema is poised to continue its transformation, embracing new formats and narratives.

Streaming Era Expansion

The advent of streaming services like Netflix, Amazon Prime, and Disney+ has revolutionized the film industry.

These platforms have challenged traditional theatrical release models, offering filmmakers flexibility in distribution and access to global audiences.

Streaming has democratized content creation, allowing independent and diverse storytellers to showcase their work. The impact on traditional cinemas is significant, with a shift towards home viewing experiences.

This era has seen a surge in binge-watching culture and an emphasis on serialized storytelling. The pandemic accelerated this shift, as streaming became the primary mode of film consumption.

The implications for the future are profound, with streaming likely to continue shaping how films are made, distributed, and watched.

History Of Film Timeline – Wrapping Up

The history of film is a journey through various movements and technological advancements, each shaping the way stories are told and experienced.

From the silent classics to the modern masterpieces, cinema has continually evolved, reflecting and shaping society.

As we look to the future, the film industry is poised to continue its evolution, embracing new technologies and storytelling techniques to captivate audiences worldwide.

The history of film is a long and complex one that spans over a century. Some of the major milestones and movements in film history include:

1895: The invention of the motion picture camera by the Lumière brothers, which marked the beginning of the motion picture industry.

1910s-1920s: The rise of Hollywood as the center of the American film industry and the emergence of the Hollywood star system.

1930s-1940s: The Golden Age of Hollywood, characterized by the production of high-quality, commercially successful films.

1950s-1960s: The emergence of the French New Wave, a movement in French cinema that sought to break away from the conventions of traditional filmmaking.

1970s: The rise of independent cinema in the United States and the emergence of movements such as the New Hollywood, the LA Rebellion, New German Cinema, Japanese New Wave, and Australian New Wave.

1980s-1990s: The emergence of new movements such as Cinéma Du Look and New Queer Cinema, as well as the rise of digital filmmaking and the advent of home video.

2000s-2010s: The rise of streaming platforms and the diversification of stories and representation in the film industry, as well as the emergence of new distribution methods like VOD and online film festivals.

Each of these movements and milestones has contributed to the evolution of the film industry and the development of new storytelling techniques and technologies.

The history of film is ongoing, and it continues to evolve in response to new technologies, changing social and cultural attitudes, and the ever-changing tastes of audiences.

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History and development of film

Advent of Cinema

Experimentation with Sound

Documentary and Propaganda

Experimentation in Film / The Avant-Garde

The first motion pictures flickered to life in Thomas Alva Edison’s New Jersey laboratory in the early 1890s. Within two decades, movie theaters had sprouted across North America and Europe (with much of the rest of the world soon to follow), their seats packed daily with audiences consuming melodramas , comedies, newsreels, and animation. Then, in 1927, sound came to the big screen. For the first time, audiences heard actors’ voices and thrilled to the new dimension this brought to the experience. From cumbersome beginnings, sound technology—along with camera, film , and projection technology—steadily improved and films became increasingly sophisticated. It is now hard to imagine a time when films were not central to popular culture .

But what is film? Theories about this medium abound: it is a collaborative art; mass entertainment; a form of language and communication, which can be both constructive and destructive; a cultural document that reflects society.

On a technical level, a film is a series of still photographic images shown in rapid succession to create the illusion of seamless motion. Anyone who has gone to the movies, however, knows that a great film can transport us well beyond the science that makes it possible. Unless the filmmaker effectively breaks film’s illusion (and varied attempts have been made to do just that), the wholeness of the world that a filmmaker can create is deeply affecting. Iris Barry, who laid the foundations for MoMA’s Film department and film studies, was a tireless champion of the medium, which she saw as humanizing: “The cinema helps us to live complete lives, in imagination if not in fact. And I cannot help thinking that knowing is the same thing as sympathizing.”

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National Science and Media Museum Bradford BD1 1NQ

The museum and IMAX cinema are temporarily closed. Pictureville and Cubby Broccoli cinemas are open. 

Find out about our  major transformation .

A very short history of cinema

Published: 18 June 2020

Learn about the history and development of cinema, from the Kinetoscope in 1891 to today’s 3D revival.

Cinematography is the illusion of movement by the recording and subsequent rapid projection of many still photographic pictures on a screen. Originally a product of 19th-century scientific endeavour, cinema has become a medium of mass entertainment and communication, and today it is a multi-billion-pound industry.

Who invented cinema?

No one person invented cinema. However, in 1891 the Edison Company successfully demonstrated a prototype of the  Kinetoscope , which enabled one person at a time to view moving pictures.

The first public Kinetoscope demonstration took place in 1893. By 1894 the Kinetoscope was a commercial success, with public parlours established around the world.

The first to present projected moving pictures to a paying audience were the Lumière brothers in December 1895 in Paris, France. They used a device of their own making, the Cinématographe, which was a camera, a projector and a film printer all in one.

What were early films like?

At first, films were very short, sometimes only a few minutes or less. They were shown at fairgrounds, music halls, or anywhere a screen could be set up and a room darkened. Subjects included local scenes and activities, views of foreign lands, short comedies and newsworthy events.

The films were accompanied by lectures, music and a lot of audience participation. Although they did not have synchronised dialogue, they were not ‘silent’ as they are sometimes described.

The rise of the film industry

By 1914, several national film industries were established. At this time, Europe, Russia and Scandinavia were the dominant industries; America was much less important. Films became longer and storytelling, or narrative, became the dominant form.

As more people paid to see movies, the industry which grew around them was prepared to invest more money in their production, distribution and exhibition, so large studios were established and dedicated cinemas built. The First World War greatly affected the film industry in Europe, and the American industry grew in relative importance.

The first 30 years of cinema were characterised by the growth and consolidation of an industrial base, the establishment of the narrative form, and refinement of technology.

Adding colour

Colour was first added to black-and-white movies through hand colouring, tinting, toning and stencilling.

By 1906, the principles of colour separation were used to produce so-called ‘natural colour’ moving images with the British Kinemacolor process, first presented to the public in 1909.

Kinemacolor was primarily used for documentary (or ‘actuality’) films, such as the epic With Our King and Queen Through India (also known as The Delhi Durbar ) of 1912, which ran for over 2 hours in total.

The early Technicolor processes from 1915 onwards were cumbersome and expensive, and colour was not used more widely until the introduction of its three‑colour process in 1932. It was used for films such as Gone With the Wind and The Wizard of Oz (both 1939) in Hollywood and A Matter of Life and Death (1946) in the UK.

Frames of stencil colour film

Advertisement for With Our King and Queen Through India , 1912

Adding sound

The first attempts to add synchronised sound to projected pictures used phonographic cylinders or discs.

The first feature-length movie incorporating synchronised dialogue, The Jazz Singer (USA, 1927), used the Warner Brothers’ Vitaphone system, which employed a separate record disc with each reel of film for the sound.

This system proved unreliable and was soon replaced by an optical, variable density soundtrack recorded photographically along the edge of the film, developed originally for newsreels such as Movietone.

Cinema’s Golden Age

By the early 1930s, nearly all feature-length movies were presented with synchronised sound and, by the mid-1930s, some were in full colour too. The advent of sound secured the dominant role of the American industry and gave rise to the so-called ‘Golden Age of Hollywood’.

During the 1930s and 1940s, cinema was the principal form of popular entertainment, with people often attending cinemas twice a week. Ornate ’super’ cinemas or ‘picture palaces’, offering extra facilities such as cafés and ballrooms, came to towns and cities; many of them could hold over 3,000 people in a single auditorium.

In Britain, the highest attendances occurred in 1946, with over 31 million visits to the cinema each week.

What is the aspect ratio?

Thomas Edison had used perforated 35mm film in the Kinetoscope, and in 1909 this was adopted as the worldwide industry standard. The picture had a width-to-height relationship—known as the aspect ratio—of 4:3 or 1.33:1. The first number refers to the width of the screen, and the second to the height. So for example, for every 4 centimetres in width, there will be 3 in height. 

With the advent of optical sound, the aspect ratio was adjusted to 1.37:1. This is known as the ‘Academy ratio’, as it was officially approved by the Academy of Motion Picture Arts and Sciences (the Oscars people) in 1932.

Although there were many experiments with other formats, there were no major changes in screen ratios until the 1950s.

How did cinema compete with television?

The introduction of television in America prompted a number of technical experiments designed to maintain public interest in cinema.

In 1952, the Cinerama process, using three projectors and a wide, deeply curved screen together with multi-track surround sound, was premiered. It had a very large aspect ratio of 2.59:1, giving audiences a greater sense of immersion, and proved extremely popular.

However, Cinerama was technically complex and therefore expensive to produce and show. Widescreen cinema was not widely adopted by the industry until the invention of CinemaScope in 1953 and Todd‑AO in 1955. Both processes used single projectors in their presentation.

CinemaScope ‘squeezed’ images on 35mm film; when projected, they were expanded laterally by the projector lens to fit the screen. Todd-AO used film with a width of 70mm. By the end of the 1950s, these innovations had effectively changed the shape of the cinema screen, with aspect ratios of either 2.35:1 or 1.66:1 becoming standard. Stereo sound, which had been experimented with in the 1940s, also became part of the new widescreen experience.

Specialist large-screen systems using 70mm film were also developed. The most successful of these has been IMAX, which as of 2020 has over 1,500 screens around the world. For many years IMAX cinemas have shown films specially made in its unique 2D or 3D formats but more recently they have shown popular mainstream feature films which have been digitally re-mastered in the IMAX format, often with additional scenes or 3D effects.

How have cinema attendance figures changed?

While cinemas had some success in fighting the competition of television, they never regained the position and influence they held in the 1930s and 40s, and over the next 30 years audiences dwindled. By 1984 cinema attendances in Britain had declined to one million a week.

By the late 2000s, however, that number had trebled. The first British multiplex was built in Milton Keynes in 1985, sparking a boom in out-of-town multiplex cinemas.

Today, most people see films on television, whether terrestrial, satellite or subscription video on demand (SVOD) services. Streaming film content on computers, tablets and mobile phones is becoming more common as it proves to be more convenient for modern audiences and lifestyles.

Although America still appears to be the most influential film industry, the reality is more complex. Many films are produced internationally—either made in various countries or financed by multinational companies that have interests across a range of media.

What’s next?

In the past 20 years, film production has been profoundly altered by the impact of rapidly improving digital technology. Most mainstream productions are now shot on digital formats with subsequent processes, such as editing and special effects, undertaken on computers.

Cinemas have invested in digital projection facilities capable of producing screen images that rival the sharpness, detail and brightness of traditional film projection. Only a small number of more specialist cinemas have retained film projection equipment.

In the past few years there has been a revival of interest in 3D features, sparked by the availability of digital technology. Whether this will be more than a short-term phenomenon (as previous attempts at 3D in the 1950s and 1980s had been) remains to be seen, though the trend towards 3D production has seen greater investment and industry commitment than before.

Further reading

• Cinematography in the Science Museum Group collection
• The Lumière Brothers: Pioneers of cinema and colour photography , National Science and Media Museum blog
• Cinerama in the UK: The history of 3-strip cinema in Pictureville Cinema , National Science and Media Museum blog
• BFI Filmography—a complete history of UK feature film
• BFI National Archive
• Imperial War Museums film archive

Pictureville Cinema

Pictureville is the home of cinema at the National Science and Media Museum, showing everything from blockbusters to indie gems.

Robert Paul and the race to invent cinema

Discover the story of Robert Paul, the forgotten pioneer whose innovations earned him the title of ‘father of the British film industry’.

Cinema technology

Discover objects from our collection which illuminate the technological development of moving pictures.

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A Brief History of Cinema

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The first moving images were shown to audiences in the 1800s. Since then, new technologies and storytelling techniques have been developed, different film styles have gone in and out of fashion, and audience tastes have changed.

From Silent to CGI: A Brief History of Cinema has been developed with young people aged 7-14 in mind. It aims to showcase the pivotal moments in the history of cinema, from its early inception to the multi-sensory experience of today. This resource will complement curricular learning (such as history, English or design and technology) or provide a backdrop to Into Film Club activity involving watching and making films. 

The resource is comprised of activities, photocopiable student sheets and film clips.

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Edison and the Lumière brothers

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Thomas Edison invented the phonograph in 1877, and it quickly became the most popular home-entertainment device of the century. Seeking to provide a visual accompaniment to the phonograph, Edison commissioned Dickson, a young laboratory assistant, to invent a motion-picture camera in 1888. Building upon the work of Muybridge and Marey, Dickson combined the two final essentials of motion-picture recording and viewing technology. These were a device, adapted from the escapement mechanism of a clock, to ensure the intermittent but regular motion of the film strip through the camera and a regularly perforated celluloid film strip to ensure precise synchronization between the film strip and the shutter. Dickson’s camera, the strip Kinetograph , initially imprinted up to 50 feet (15 meters) of celluloid film at the rate of about 40 frames per second.

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Dickson was not the only person who had been tackling the problem of recording and reproducing moving images. Inventors throughout the world had been trying for years to devise working motion-picture machines. In fact, several European inventors, including the Englishman William Friese-Greene , applied for patents on various cameras, projectors, and camera-projector combinations contemporaneously or even before Edison and his associates did.

Because Edison had originally conceived of motion pictures as an adjunct to his phonograph, he did not commission the invention of a projector to accompany the Kinetograph. Rather, he had Dickson design a type of peep-show viewing device called the Kinetoscope , in which a continuous 47-foot (14-meter) film loop ran on spools between an incandescent lamp and a shutter for individual viewing. Starting in 1894, Kinetoscopes were marketed commercially through the firm of Raff and Gammon for $250 to $300 apiece. The Edison Company established its own Kinetograph studio (a single-room building called the “Black Maria” that rotated on tracks to follow the sun) in West Orange , New Jersey , to supply films for the Kinetoscopes that Raff and Gammon were installing in penny arcades, hotel lobbies, amusement parks, and other such semipublic places. In April of that year the first Kinetoscope parlor was opened in a converted storefront in New York City . The parlor charged 25 cents for admission to a bank of five machines.

The syndicate of Maguire and Baucus acquired the foreign rights to the Kinetoscope in 1894 and began to market the machines. Edison opted not to file for international patents on either his camera or his viewing device, and, as a result, the machines were widely and legally copied throughout Europe, where they were modified and improved far beyond the American originals. In fact, it was a Kinetoscope exhibition in Paris that inspired the Lumière brothers , Auguste and Louis , to invent the first commercially viable projector . Their cinématographe , which functioned as a camera and printer as well as a projector, ran at the economical speed of 16 frames per second. It was given its first commercial demonstration on December 28, 1895.

Unlike the Kinetograph, which was battery-driven and weighed more than 1,000 pounds (453 kg), the cinématographe was hand-cranked, lightweight (less than 20 pounds [9 kg]), and relatively portable. This naturally affected the kinds of films that were made with each machine: Edison films initially featured material such as circus or vaudeville acts that could be taken into a small studio to perform before an inert camera, while early Lumière films were mainly documentary views, or “actualities,” shot outdoors on location. In both cases, however, the films themselves were composed of a single unedited shot emphasizing lifelike movement; they contained little or no narrative content. (After a few years design changes in the machines made it possible for Edison and the Lumières to shoot the same kinds of subjects.) In general, Lumière technology became the European standard during the early era, and, because the Lumières sent their cameramen all over the world in search of exotic subjects, the cinématographe became the founding instrument of distant cinemas in Russia, Australia, and Japan.

In the United States the Kinetoscope installation business had reached the saturation point by the summer of 1895, although it was still quite profitable for Edison as a supplier of films. Raff and Gammon persuaded Edison to buy the rights to a state-of-the-art projector, developed by Thomas Armat of Washington, D.C., which incorporated a superior intermittent movement mechanism and a loop-forming device (known as the Latham loop , after its earliest promoters, Grey Latham and Otway Latham) to reduce film breakage, and in early 1896 Edison began to manufacture and market this machine as his own invention. Given its first public demonstration on April 23, 1896, at Koster and Bial’s Music Hall in New York City, the Edison Vitascope brought projection to the United States and established the format for American film exhibition for the next several years. It also encouraged the activities of such successful Edison rivals as the American Mutoscope and Biograph Company , which was formed in 1896 to exploit the Mutoscope peep-show device and the American Biograph camera and projector patented by W.K.L. Dickson in 1896. During this time, which has been characterized as the “ novelty period,” emphasis fell on the projection device itself, and films achieved their main popularity as self-contained vaudeville attractions. Vaudeville houses, locked in intense competition at the turn of the century, headlined the name of the machines rather than the films (e.g., “The Vitascope—Edison’s Latest Marvel,” “The Amazing Cinématographe”). The producer, or manufacturer, supplied projectors along with an operator and a program of shorts. These films, whether they were Edison-style theatrical variety shorts or Lumière-style actualities, were perceived by their original audiences not as motion pictures in the modern sense of the term but as “animated photographs” or “living pictures,” emphasizing their continuity with more familiar media of the time.

During the novelty period, the film industry was autonomous and unitary, with production companies leasing a complete film service of projector, operator, and shorts to the vaudeville market as a single, self-contained act. Starting about 1897, however, manufacturers began to sell both projectors and films to itinerant exhibitors who traveled with their programs from one temporary location (vaudeville theaters, fairgrounds, circus tents, lyceums) to another as the novelty of their films wore off at a given site. This new mode of screening by circuit marked the first separation of exhibition from production and gave the exhibitors a large measure of control over early film form, since they were responsible for arranging the one-shot films purchased from the producers into audience-pleasing programs. The putting together of these programs—which often involved narration, sound effects, and music—was in effect a primitive form of editing, so that it is possible to regard the itinerant projectionists working between 1896 and 1904 as the earliest directors of motion pictures. Several of them, notably Edwin S. Porter , were, in fact, hired as directors by production companies after the industry stabilized in the first decade of the 20th century.

By encouraging the practice of peripatetic exhibition, the American producers’ policy of outright sales inhibited the development of permanent film theaters in the United States until nearly a decade after their appearance in Europe, where England and France had taken an early lead in both production and exhibition. Britain’s first projector, the theatrograph (later the animatograph), had been demonstrated in 1896 by the scientific-instrument maker Robert W. Paul. In 1899 Paul formed his own production company for the manufacture of actualities and trick films, and until 1905 Paul’s Animatograph Works, Ltd., was England’s largest producer, turning out an average of 50 films per year. Between 1896 and 1898, two Brighton photographers, George Albert Smith and James Williamson, constructed their own motion-picture cameras and began producing trick films featuring superimpositions ( The Corsican Brothers , 1897) and interpolated close-ups ( Grandma’s Reading Glass , 1900; The Big Swallow , 1901). Smith subsequently developed the first commercially successful photographic color process ( Kinemacolor , c. 1906–08, with Charles Urban), while Williamson experimented with parallel editing as early as 1900 ( Attack on a Chinese Mission Station ) and became a pioneer of the chase film ( Stop Thief! , 1901; Fire! , 1901). Both Smith and Williamson had built studios at Brighton by 1902 and, with their associates, came to be known as members of the “Brighton school,” although they did not represent a coherent movement. Another important early British filmmaker was Cecil Hepworth, whose Rescued by Rover (1905) is regarded by many historians as the most skillfully edited narrative produced before the Biograph shorts of D.W. Griffith .

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